From 0006f9753bc49f29ed4593b79a46e1ff4b29c786 Mon Sep 17 00:00:00 2001
From: Retype GitHub Action <retype@object.net>
Date: Thu, 17 Aug 2023 22:51:30 +0000
Subject: [PATCH] Refreshes Retype-generated documentation.

Process triggered by latenitefilms.
---
 404.html                                      |   8 ++--
 accessibility/index.html                      |   8 ++--
 bugtracker/index.html                         |   8 ++--
 camera-formats/index.html                     |   8 ++--
 case-studies/blood-and-gold/index.html        |   8 ++--
 case-studies/external-case-studies/index.html |   8 ++--
 case-studies/indias-space-odyssey/index.html  |   8 ++--
 case-studies/schock/index.html                |   8 ++--
 .../the-future-of-everything/index.html       |   8 ++--
 case-studies/the-shadow/index.html            |   8 ++--
 case-studies/turn-of-the-tide/index.html      |   8 ++--
 community/podcasts/index.html                 |   8 ++--
 community/socialmedia/index.html              |   8 ++--
 contribute/index.html                         |   8 ++--
 credits/index.html                            |   8 ++--
 cut-on-fcp/index.html                         |   8 ++--
 developer-case-studies/transcriber/index.html |   8 ++--
 developers/applicationbundle/index.html       |   8 ++--
 developers/benchmark/index.html               |   8 ++--
 developers/faq/index.html                     |   8 ++--
 developers/fcpxml/index.html                  |   8 ++--
 developers/fxplug/index.html                  |   8 ++--
 developers/ixml/index.html                    |   8 ++--
 developers/librarybundle/index.html           |   8 ++--
 developers/patents/index.html                 |   8 ++--
 developers/toolsandframeworks/index.html      |   8 ++--
 developers/workflowextensions/index.html      |   8 ++--
 ecosystem/assetmanagement/index.html          |   8 ++--
 ecosystem/motiontemplates/index.html          |   8 ++--
 ecosystem/plugins/index.html                  |   8 ++--
 ecosystem/tools/index.html                    |   8 ++--
 ecosystem/workflowextensions/index.html       |  35 ++++++++++++++++--
 faq/index.html                                |   8 ++--
 fcp-creative-summit/index.html                |   8 ++--
 hardware/controlsurfaces/index.html           |   8 ++--
 hardware/monitors/index.html                  |   8 ++--
 hardware/storage/index.html                   |   8 ++--
 index.html                                    |   8 ++--
 ipad/index.html                               |   8 ++--
 latenite-technology/index.html                |   8 ++--
 learn/360/index.html                          |   8 ++--
 learn/articles/index.html                     |   8 ++--
 learn/educational/index.html                  |   8 ++--
 learn/history/index.html                      |   8 ++--
 learn/training/index.html                     |   8 ++--
 learn/workflow/index.html                     |   8 ++--
 motion/variables/index.html                   |   8 ++--
 newbies/index.html                            |   8 ++--
 news/20230523/index.html                      |   8 ++--
 news/20230526/index.html                      |   8 ++--
 news/20230527/index.html                      |   8 ++--
 news/20230528/index.html                      |   8 ++--
 news/20230529/index.html                      |   8 ++--
 news/20230530/index.html                      |   8 ++--
 news/20230531/index.html                      |   8 ++--
 news/20230601/index.html                      |   8 ++--
 news/20230602/index.html                      |   8 ++--
 news/20230603/index.html                      |   8 ++--
 news/20230605/index.html                      |   8 ++--
 news/20230606/index.html                      |   8 ++--
 news/20230607/index.html                      |   8 ++--
 news/20230608/index.html                      |   8 ++--
 news/20230609/index.html                      |   8 ++--
 news/20230610/index.html                      |   8 ++--
 news/20230613/index.html                      |   8 ++--
 news/20230614/index.html                      |   8 ++--
 news/20230615/index.html                      |   8 ++--
 news/20230616/index.html                      |   8 ++--
 news/20230617/index.html                      |   8 ++--
 news/20230618/index.html                      |   8 ++--
 news/20230621/index.html                      |   8 ++--
 news/20230622/index.html                      |   8 ++--
 news/20230624/index.html                      |   8 ++--
 news/20230629/index.html                      |   8 ++--
 news/20230630/index.html                      |   8 ++--
 news/20230703/index.html                      |   8 ++--
 news/20230706/index.html                      |   8 ++--
 news/20230707/index.html                      |   8 ++--
 news/20230712/index.html                      |   8 ++--
 news/20230715/index.html                      |   8 ++--
 news/20230718/index.html                      |   8 ++--
 news/20230719/index.html                      |   8 ++--
 news/20230720/index.html                      |   8 ++--
 news/20230721/index.html                      |   8 ++--
 news/20230722/index.html                      |   8 ++--
 news/20230724/index.html                      |   8 ++--
 news/20230729/index.html                      |   8 ++--
 news/20230802/index.html                      |   8 ++--
 news/20230804/index.html                      |   8 ++--
 news/20230806/index.html                      |   8 ++--
 news/20230810/index.html                      |   8 ++--
 news/20230817/index.html                      |   8 ++--
 openletter/index.html                         |   8 ++--
 privacy/index.html                            |   8 ++--
 releasenotes/index.html                       |   8 ++--
 resources/js/config.js                        |   2 +-
 resources/js/search.json                      |   2 +-
 rss.xml                                       |   4 +-
 rss/index.html                                |   8 ++--
 sitemap.xml.gz                                | Bin 861 -> 860 bytes
 troubleshooting/index.html                    |   8 ++--
 wishlist/index.html                           |   8 ++--
 102 files changed, 423 insertions(+), 396 deletions(-)

diff --git a/404.html b/404.html
index c90268a723..163ff74731 100644
--- a/404.html
+++ b/404.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -28,11 +28,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="/static/favicon.ico" rel="icon">
-    <link href="/resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="/resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="/resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="/resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="/resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="/resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="/resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/accessibility/index.html b/accessibility/index.html
index 51986ddb19..674f121f52 100644
--- a/accessibility/index.html
+++ b/accessibility/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../static/favicon.ico" rel="icon">
-    <link href="../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/bugtracker/index.html b/bugtracker/index.html
index f3eb89b165..aa1535b316 100644
--- a/bugtracker/index.html
+++ b/bugtracker/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../static/favicon.ico" rel="icon">
-    <link href="../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/camera-formats/index.html b/camera-formats/index.html
index cffb66c87e..47ab0da583 100644
--- a/camera-formats/index.html
+++ b/camera-formats/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../static/favicon.ico" rel="icon">
-    <link href="../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/case-studies/blood-and-gold/index.html b/case-studies/blood-and-gold/index.html
index 29201a1809..1ade01ca1a 100644
--- a/case-studies/blood-and-gold/index.html
+++ b/case-studies/blood-and-gold/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/case-studies/external-case-studies/index.html b/case-studies/external-case-studies/index.html
index ba5b1dda87..7f42190689 100644
--- a/case-studies/external-case-studies/index.html
+++ b/case-studies/external-case-studies/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/case-studies/indias-space-odyssey/index.html b/case-studies/indias-space-odyssey/index.html
index 9124da95bd..89ecd099b8 100644
--- a/case-studies/indias-space-odyssey/index.html
+++ b/case-studies/indias-space-odyssey/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/case-studies/schock/index.html b/case-studies/schock/index.html
index a98bc57eca..733328d3b3 100644
--- a/case-studies/schock/index.html
+++ b/case-studies/schock/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/case-studies/the-future-of-everything/index.html b/case-studies/the-future-of-everything/index.html
index 779c010522..4416a1f9c0 100644
--- a/case-studies/the-future-of-everything/index.html
+++ b/case-studies/the-future-of-everything/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/case-studies/the-shadow/index.html b/case-studies/the-shadow/index.html
index 791b8a004b..ba738d6a62 100644
--- a/case-studies/the-shadow/index.html
+++ b/case-studies/the-shadow/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/case-studies/turn-of-the-tide/index.html b/case-studies/turn-of-the-tide/index.html
index 173a22e031..a2439efdf1 100644
--- a/case-studies/turn-of-the-tide/index.html
+++ b/case-studies/turn-of-the-tide/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/community/podcasts/index.html b/community/podcasts/index.html
index dea1ad25f0..8febf159b1 100644
--- a/community/podcasts/index.html
+++ b/community/podcasts/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/community/socialmedia/index.html b/community/socialmedia/index.html
index 7d83bfb8e8..57c14981c7 100644
--- a/community/socialmedia/index.html
+++ b/community/socialmedia/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/contribute/index.html b/contribute/index.html
index 49f687eff3..406e9ecab7 100644
--- a/contribute/index.html
+++ b/contribute/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../static/favicon.ico" rel="icon">
-    <link href="../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/credits/index.html b/credits/index.html
index 9717f46cc0..023e45e4d0 100644
--- a/credits/index.html
+++ b/credits/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../static/favicon.ico" rel="icon">
-    <link href="../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/cut-on-fcp/index.html b/cut-on-fcp/index.html
index 12e13f91ce..a105a67e67 100644
--- a/cut-on-fcp/index.html
+++ b/cut-on-fcp/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../static/favicon.ico" rel="icon">
-    <link href="../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/developer-case-studies/transcriber/index.html b/developer-case-studies/transcriber/index.html
index bc9ecec40d..d66bf62661 100644
--- a/developer-case-studies/transcriber/index.html
+++ b/developer-case-studies/transcriber/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/developers/applicationbundle/index.html b/developers/applicationbundle/index.html
index b7023f0ffd..928e10d8bb 100644
--- a/developers/applicationbundle/index.html
+++ b/developers/applicationbundle/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/developers/benchmark/index.html b/developers/benchmark/index.html
index f2bef876b9..b66651f598 100644
--- a/developers/benchmark/index.html
+++ b/developers/benchmark/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/developers/faq/index.html b/developers/faq/index.html
index 6b9ebbbc0f..d9d43a0104 100644
--- a/developers/faq/index.html
+++ b/developers/faq/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/developers/fcpxml/index.html b/developers/fcpxml/index.html
index f29127ca3e..bcfa1de2f6 100644
--- a/developers/fcpxml/index.html
+++ b/developers/fcpxml/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/developers/fxplug/index.html b/developers/fxplug/index.html
index db96c706b9..0ac4eb1b31 100644
--- a/developers/fxplug/index.html
+++ b/developers/fxplug/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <link href="../../resources/css/katex.css?v=3.1.0" rel="stylesheet">
     <script id="katex-js" data-cfasync="false" src="../../resources/js/katex.js?v=3.1.0" defer></script>
 
diff --git a/developers/ixml/index.html b/developers/ixml/index.html
index 81c7a2ec58..fdbfad9fe6 100644
--- a/developers/ixml/index.html
+++ b/developers/ixml/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/developers/librarybundle/index.html b/developers/librarybundle/index.html
index a33ac533da..fb331e8bb3 100644
--- a/developers/librarybundle/index.html
+++ b/developers/librarybundle/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/developers/patents/index.html b/developers/patents/index.html
index f961f9e624..bca7824d2a 100644
--- a/developers/patents/index.html
+++ b/developers/patents/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/developers/toolsandframeworks/index.html b/developers/toolsandframeworks/index.html
index 43afcc8751..32de4fc9f5 100644
--- a/developers/toolsandframeworks/index.html
+++ b/developers/toolsandframeworks/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/developers/workflowextensions/index.html b/developers/workflowextensions/index.html
index 7df67a2f64..bbf70ae270 100644
--- a/developers/workflowextensions/index.html
+++ b/developers/workflowextensions/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/ecosystem/assetmanagement/index.html b/ecosystem/assetmanagement/index.html
index 88dfefe7db..099aabe789 100644
--- a/ecosystem/assetmanagement/index.html
+++ b/ecosystem/assetmanagement/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/ecosystem/motiontemplates/index.html b/ecosystem/motiontemplates/index.html
index deaea85eba..e710599f0a 100644
--- a/ecosystem/motiontemplates/index.html
+++ b/ecosystem/motiontemplates/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/ecosystem/plugins/index.html b/ecosystem/plugins/index.html
index ddb1326b76..8f9a2802e7 100644
--- a/ecosystem/plugins/index.html
+++ b/ecosystem/plugins/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/ecosystem/tools/index.html b/ecosystem/tools/index.html
index e3820b98d4..d234feb9f1 100644
--- a/ecosystem/tools/index.html
+++ b/ecosystem/tools/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/ecosystem/workflowextensions/index.html b/ecosystem/workflowextensions/index.html
index 965a68781d..2cd6eaf151 100644
--- a/ecosystem/workflowextensions/index.html
+++ b/ecosystem/workflowextensions/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
@@ -793,6 +793,33 @@ <h3>
     <span>View on Mac App Store</span>
 </a></p>
 <hr>
+<hr>
+<doc-anchor-target id="u">
+    <h2>
+        <doc-anchor-trigger class="header-anchor-trigger" to="#u">#</doc-anchor-trigger>
+        <span>U</span>
+    </h2>
+</doc-anchor-target>
+<doc-anchor-target id="universal-production-music">
+    <h3>
+        <doc-anchor-trigger class="header-anchor-trigger" to="#universal-production-music">#</doc-anchor-trigger>
+        <span>Universal Production Music</span>
+    </h3>
+</doc-anchor-target>
+<p>Discover the best tracks for your project and import them effortlessly into your timeline without leaving Final Cut Pro.</p>
+<p>With over half a million tracks available, the Universal Production Music catalogue covers all genres and moods, with an ever-expanding roster of hugely talented Artists and Composers around the globe.</p>
+<p>Key Features Include:</p>
+<ul>
+<li><strong>Search and filter</strong> - Search for keywords, moods, genres, tracks, or use the dropdown menu to refine your search by edit length, version type or instrument</li>
+<li><strong>Playlisting</strong> - Access Themed Playlists curated by our Music Supervisors to speed up your workflow, or your own playlists that you have created on the website</li>
+<li><strong>Stems</strong> - Found a track but only interested in the percussion section, bass or vocals? Download stems to break down a track into its instrument sections</li>
+<li><strong>Settings</strong> - The Extension gives you a great degree of flexibility, allowing you to adjust your volume in the panel and select your desired download format, amongst other features</li>
+<li><strong>Cue Sheet Helper</strong> - Projects can be exported to Cue Sheet Helper which formats track data correctly for music reporting</li>
+</ul>
+<p><a href="https://apps.apple.com/au/app/universal-production-music/id1509216485?mt=12" target="_blank" class="no-link inline-flex items-center font-medium cursor-pointer transition-colors duration-200 ease-out focus:outline-none bg-blue-100 hover:bg-blue-200 text-blue-600 px-4 h-10 text-sm rounded-md">
+    <span>View on Mac App Store</span>
+</a></p>
+<hr>
 <doc-anchor-target id="discuss-this-page">
     <h2>
         <doc-anchor-trigger class="header-anchor-trigger" to="#discuss-this-page">#</doc-anchor-trigger>
diff --git a/faq/index.html b/faq/index.html
index 1af3c61ce4..c8433bfcde 100644
--- a/faq/index.html
+++ b/faq/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../static/favicon.ico" rel="icon">
-    <link href="../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/fcp-creative-summit/index.html b/fcp-creative-summit/index.html
index 74c65018c1..5aba862cac 100644
--- a/fcp-creative-summit/index.html
+++ b/fcp-creative-summit/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../static/favicon.ico" rel="icon">
-    <link href="../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/hardware/controlsurfaces/index.html b/hardware/controlsurfaces/index.html
index 62e0da16d0..4a5f68c0e6 100644
--- a/hardware/controlsurfaces/index.html
+++ b/hardware/controlsurfaces/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/hardware/monitors/index.html b/hardware/monitors/index.html
index 5b1e392c79..7d52a94e6e 100644
--- a/hardware/monitors/index.html
+++ b/hardware/monitors/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/hardware/storage/index.html b/hardware/storage/index.html
index 3b0a89ad85..8a0f57c8b0 100644
--- a/hardware/storage/index.html
+++ b/hardware/storage/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/index.html b/index.html
index 1be1f9908f..bada923085 100644
--- a/index.html
+++ b/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="static/favicon.ico" rel="icon">
-    <link href="resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/ipad/index.html b/ipad/index.html
index 838708d7e3..8d47fdd640 100644
--- a/ipad/index.html
+++ b/ipad/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../static/favicon.ico" rel="icon">
-    <link href="../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/latenite-technology/index.html b/latenite-technology/index.html
index 892468f312..c8d06c2e28 100644
--- a/latenite-technology/index.html
+++ b/latenite-technology/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../static/favicon.ico" rel="icon">
-    <link href="../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/learn/360/index.html b/learn/360/index.html
index 69ba94f316..916d17086c 100644
--- a/learn/360/index.html
+++ b/learn/360/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/learn/articles/index.html b/learn/articles/index.html
index 5a594ca363..3c829daa6d 100644
--- a/learn/articles/index.html
+++ b/learn/articles/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/learn/educational/index.html b/learn/educational/index.html
index 8dd1e01697..ca3ab356f2 100644
--- a/learn/educational/index.html
+++ b/learn/educational/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/learn/history/index.html b/learn/history/index.html
index 6298cf4475..8ff9becf07 100644
--- a/learn/history/index.html
+++ b/learn/history/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/learn/training/index.html b/learn/training/index.html
index 85aa26c409..8fd762bcc4 100644
--- a/learn/training/index.html
+++ b/learn/training/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/learn/workflow/index.html b/learn/workflow/index.html
index 3348c929f3..1de5f62139 100644
--- a/learn/workflow/index.html
+++ b/learn/workflow/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/motion/variables/index.html b/motion/variables/index.html
index 452e1f0a21..1803f6f595 100644
--- a/motion/variables/index.html
+++ b/motion/variables/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/newbies/index.html b/newbies/index.html
index 584d64066b..3ae9afe949 100644
--- a/newbies/index.html
+++ b/newbies/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../static/favicon.ico" rel="icon">
-    <link href="../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230523/index.html b/news/20230523/index.html
index e3fa64298e..09ddbecc17 100644
--- a/news/20230523/index.html
+++ b/news/20230523/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230526/index.html b/news/20230526/index.html
index 07e40bedfd..bf9f125819 100644
--- a/news/20230526/index.html
+++ b/news/20230526/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230527/index.html b/news/20230527/index.html
index 64e87d96c8..f4d327061a 100644
--- a/news/20230527/index.html
+++ b/news/20230527/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230528/index.html b/news/20230528/index.html
index f8e91b05e3..d4eaf9afa1 100644
--- a/news/20230528/index.html
+++ b/news/20230528/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230529/index.html b/news/20230529/index.html
index 3c9acde63b..014a576c20 100644
--- a/news/20230529/index.html
+++ b/news/20230529/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230530/index.html b/news/20230530/index.html
index 15828c2cad..c478ce183a 100644
--- a/news/20230530/index.html
+++ b/news/20230530/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230531/index.html b/news/20230531/index.html
index 2ddeb748f7..2aa66c7eba 100644
--- a/news/20230531/index.html
+++ b/news/20230531/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230601/index.html b/news/20230601/index.html
index 2d28d33d77..ba78b9b223 100644
--- a/news/20230601/index.html
+++ b/news/20230601/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230602/index.html b/news/20230602/index.html
index 25725a11fd..b91690f6b9 100644
--- a/news/20230602/index.html
+++ b/news/20230602/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230603/index.html b/news/20230603/index.html
index 398fdea164..d404e6448a 100644
--- a/news/20230603/index.html
+++ b/news/20230603/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230605/index.html b/news/20230605/index.html
index bf884353d6..af1654ebab 100644
--- a/news/20230605/index.html
+++ b/news/20230605/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230606/index.html b/news/20230606/index.html
index cf4eaccdfe..c95a0fa647 100644
--- a/news/20230606/index.html
+++ b/news/20230606/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230607/index.html b/news/20230607/index.html
index 7b6e0f5702..1bca18743e 100644
--- a/news/20230607/index.html
+++ b/news/20230607/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230608/index.html b/news/20230608/index.html
index dec7908321..2ab854f445 100644
--- a/news/20230608/index.html
+++ b/news/20230608/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230609/index.html b/news/20230609/index.html
index ea7bd22194..264bb58dd1 100644
--- a/news/20230609/index.html
+++ b/news/20230609/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230610/index.html b/news/20230610/index.html
index 732add256a..267fabf9e2 100644
--- a/news/20230610/index.html
+++ b/news/20230610/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230613/index.html b/news/20230613/index.html
index 78fe45ecac..caacdf5012 100644
--- a/news/20230613/index.html
+++ b/news/20230613/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230614/index.html b/news/20230614/index.html
index b8b919b279..2e2b8525e7 100644
--- a/news/20230614/index.html
+++ b/news/20230614/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230615/index.html b/news/20230615/index.html
index cc0acc7152..65f82be59a 100644
--- a/news/20230615/index.html
+++ b/news/20230615/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230616/index.html b/news/20230616/index.html
index 3bdb085404..f36fc33e5f 100644
--- a/news/20230616/index.html
+++ b/news/20230616/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230617/index.html b/news/20230617/index.html
index 770a4f2302..695c355e1a 100644
--- a/news/20230617/index.html
+++ b/news/20230617/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230618/index.html b/news/20230618/index.html
index 8fb606a22e..26c718b7fd 100644
--- a/news/20230618/index.html
+++ b/news/20230618/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230621/index.html b/news/20230621/index.html
index 6a6103218c..f22773d02c 100644
--- a/news/20230621/index.html
+++ b/news/20230621/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230622/index.html b/news/20230622/index.html
index 7987a9c743..816e24b125 100644
--- a/news/20230622/index.html
+++ b/news/20230622/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230624/index.html b/news/20230624/index.html
index 847f33c28f..e115971ad1 100644
--- a/news/20230624/index.html
+++ b/news/20230624/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230629/index.html b/news/20230629/index.html
index 018f073a3f..cfb65e6ccf 100644
--- a/news/20230629/index.html
+++ b/news/20230629/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230630/index.html b/news/20230630/index.html
index 2b3bea18db..f2126c0fe3 100644
--- a/news/20230630/index.html
+++ b/news/20230630/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230703/index.html b/news/20230703/index.html
index 86f43f8848..05e7ccb5b5 100644
--- a/news/20230703/index.html
+++ b/news/20230703/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230706/index.html b/news/20230706/index.html
index 18d45d55ee..2c6df38ffb 100644
--- a/news/20230706/index.html
+++ b/news/20230706/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230707/index.html b/news/20230707/index.html
index f5b6b19319..40b3faaa1e 100644
--- a/news/20230707/index.html
+++ b/news/20230707/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230712/index.html b/news/20230712/index.html
index 366e435703..fe99d9b98a 100644
--- a/news/20230712/index.html
+++ b/news/20230712/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230715/index.html b/news/20230715/index.html
index 8fac97057d..19d3dfa7aa 100644
--- a/news/20230715/index.html
+++ b/news/20230715/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230718/index.html b/news/20230718/index.html
index c2302da69c..ec2eb402e1 100644
--- a/news/20230718/index.html
+++ b/news/20230718/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230719/index.html b/news/20230719/index.html
index 1ef82332b5..4e970b6815 100644
--- a/news/20230719/index.html
+++ b/news/20230719/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230720/index.html b/news/20230720/index.html
index eadd48147e..ce5cf31c84 100644
--- a/news/20230720/index.html
+++ b/news/20230720/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230721/index.html b/news/20230721/index.html
index 6868f0739c..7e60e36f53 100644
--- a/news/20230721/index.html
+++ b/news/20230721/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230722/index.html b/news/20230722/index.html
index ec9036eacd..4acd1af21b 100644
--- a/news/20230722/index.html
+++ b/news/20230722/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230724/index.html b/news/20230724/index.html
index c00b5cb425..5abb5ceefc 100644
--- a/news/20230724/index.html
+++ b/news/20230724/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230729/index.html b/news/20230729/index.html
index 65d9c53270..409808f5ae 100644
--- a/news/20230729/index.html
+++ b/news/20230729/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230802/index.html b/news/20230802/index.html
index a36e1f5125..8f866405d5 100644
--- a/news/20230802/index.html
+++ b/news/20230802/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230804/index.html b/news/20230804/index.html
index 1d61396018..876996d68e 100644
--- a/news/20230804/index.html
+++ b/news/20230804/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230806/index.html b/news/20230806/index.html
index 0d4bdefeab..4f2a746797 100644
--- a/news/20230806/index.html
+++ b/news/20230806/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230810/index.html b/news/20230810/index.html
index e1cc988f08..693ffe45d9 100644
--- a/news/20230810/index.html
+++ b/news/20230810/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/news/20230817/index.html b/news/20230817/index.html
index 07ce94de5b..6b8b16f4ff 100644
--- a/news/20230817/index.html
+++ b/news/20230817/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../../static/favicon.ico" rel="icon">
-    <link href="../../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/openletter/index.html b/openletter/index.html
index b22eb22a44..3a8859a448 100644
--- a/openletter/index.html
+++ b/openletter/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../static/favicon.ico" rel="icon">
-    <link href="../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/privacy/index.html b/privacy/index.html
index 64e95f41dc..e1221eb0da 100644
--- a/privacy/index.html
+++ b/privacy/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../static/favicon.ico" rel="icon">
-    <link href="../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/releasenotes/index.html b/releasenotes/index.html
index db6e5272a4..2dcf176c13 100644
--- a/releasenotes/index.html
+++ b/releasenotes/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../static/favicon.ico" rel="icon">
-    <link href="../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/resources/js/config.js b/resources/js/config.js
index 36d72bb3d6..1b20eac4cf 100644
--- a/resources/js/config.js
+++ b/resources/js/config.js
@@ -1 +1 @@
-var __DOCS_CONFIG__ = {"id":"T3jAv/8q1614ekP0wgEM8wbYtjUy21OpVcC","key":"+cqHRuvWeb9ZOOi5j7GKXd2Bqt1XTbwILn4JpbNP5Pg.JoCbcVriAnsenaEFNCzDWvWWoF7lCR2frao5CeWol071acGVniV0tRHgLus9gIaphb9qMv0tQP/h3MNZ8lyZDQ.300028","base":"/","host":"fcp.cafe","version":"1.0.0","useRelativePaths":true,"documentName":"index.html","appendDocumentName":false,"trailingSlash":true,"preloadSearch":false,"cacheBustingToken":"3.1.0.745570549288","cacheBustingStrategy":"query","sidebarFilterPlaceholder":"Filter","toolbarFilterPlaceholder":"Filter","showSidebarFilter":true,"filterNotFoundMsg":"No member names found containing the query \"{query}\"","maxHistoryItems":15,"homeIcon":"<path d=\"M12.97 2.59a1.5 1.5 0 00-1.94 161 0l-7.5 6.363A1.5 1.5 0 003 10.097V19.5A1.5 1.5 0 004.5 21h4.75a.75.75 0 00.75-.75V14h4v6.25c0 .414.336.75.75.75h4.75a1.5 1.5 0 001.5-1.5v-9.403a1.5 1.5 0 00-.53-1.144l-7.5-6.363z\"></path>","access":[{"value":"public","label":"Public"},{"value":"protected","label":"Protected"}],"toolbarLinks":[{"id":"fields","label":"Fields"},{"id":"properties","label":"Properties"},{"id":"methods","label":"Methods"},{"id":"events","label":"Events"}],"sidebar":[{"n":"/","l":"Latest News","s":"<path d=\"M20.485 2.515a.75.75 0 0 0-1.06 1.06A10.465 10.465 0 0 1 22.5 11c0 2.9-1.174 5.523-3.075 7.424a.75.75 0 0 0 1.06 1.061A11.965 11.965 0 0 0 24 11c0-3.314-1.344-6.315-3.515-8.485Zm-15.91 1.06a.75.75 0 0 0-1.06-1.06A11.965 11.965 0 0 0 0 11c0 3.313 1.344 6.314 3.515 8.485a.75.75 0 0 0 1.06-1.06A10.465 10.465 0 0 1 1.5 11c0-2.9 1.174-5.524 3.075-7.425ZM8.11 7.11a.75.75 0 0 0-1.06-1.06A6.98 6.98 0 0 0 5 11a6.98 6.98 0 0 0 2.05 4.95.75.75 0 0 0 1.06-1.061 5.48 5.48 0 0 1-1.61-3.89 5.48 5.48 0 0 1 1.61-3.888Zm8.84-1.06a.75.75 0 1 0-1.06 1.06A5.48 5.48 0 0 1 17.5 11a5.48 5.48 0 0 1-1.61 3.889.75.75 0 1 0 1.06 1.06A6.98 6.98 0 0 0 19 11a6.98 6.98 0 0 0-2.05-4.949ZM14 11a2 2 0 0 1-1.25 1.855v8.395a.75.75 0 0 1-1.5 0v-8.395A2 2 0 1 1 14 11Z\"/>"},{"n":"latenite-technology","l":"Late​Nite Technology","s":"<path d=\"M12 2.5c-3.81 0-6.5 2.743-6.5 6.119 0 1.536.632 2.572 1.425 3.56.172.215.347.422.527.635l.096.112c.21.25.427.508.63.774.404.531.783 1.128.995 1.834a.75.75 0 0 1-1.436.432c-.138-.46-.397-.89-.753-1.357a18.111 18.111 0 0 0-.582-.714l-.092-.11c-.18-.212-.37-.436-.555-.667C4.87 12.016 4 10.651 4 8.618 4 4.363 7.415 1 12 1s8 3.362 8 7.619c0 2.032-.87 3.397-1.755 4.5-.185.23-.375.454-.555.667l-.092.109c-.21.248-.405.481-.582.714-.356.467-.615.898-.753 1.357a.751.751 0 0 1-1.437-.432c.213-.706.592-1.303.997-1.834.202-.266.419-.524.63-.774l.095-.112c.18-.213.355-.42.527-.634.793-.99 1.425-2.025 1.425-3.561C18.5 5.243 15.81 2.5 12 2.5ZM8.75 18h6.5a.75.75 0 0 1 0 1.5h-6.5a.75.75 0 0 1 0-1.5Zm.75 3.75a.75.75 0 0 1 .75-.75h3.5a.75.75 0 0 1 0 1.5h-3.5a.75.75 0 0 1-.75-.75Z\"/>"},{"n":"newbies","l":"New to Final Cut Pro?","s":"<path d=\"M20.322.75h1.176a1.75 1.75 0 0 1 1.75 1.749v1.177a10.75 10.75 0 0 1-2.925 7.374l-1.228 1.304a23.699 23.699 0 0 1-1.596 1.542v5.038c0 .615-.323 1.184-.85 1.5l-4.514 2.709a.75.75 0 0 1-1.12-.488l-.963-4.572a1.305 1.305 0 0 1-.14-.129L8.04 15.96l-1.994-1.873a1.305 1.305 0 0 1-.129-.14l-4.571-.963a.75.75 0 0 1-.49-1.12l2.71-4.514c.316-.527.885-.85 1.5-.85h5.037a23.668 23.668 0 0 1 1.542-1.594l1.304-1.23A10.753 10.753 0 0 1 20.321.75Zm-6.344 4.018v-.001l-1.304 1.23a22.275 22.275 0 0 0-3.255 3.851l-2.193 3.29 1.859 1.744a.545.545 0 0 1 .034.034l1.743 1.858 3.288-2.192a22.263 22.263 0 0 0 3.854-3.257l1.228-1.303a9.251 9.251 0 0 0 2.517-6.346V2.5a.25.25 0 0 0-.25-.25h-1.177a9.252 9.252 0 0 0-6.344 2.518ZM6.5 21c-1.209 1.209-3.901 1.445-4.743 1.49a.236.236 0 0 1-.18-.067.236.236 0 0 1-.067-.18c.045-.842.281-3.534 1.49-4.743.9-.9 2.6-.9 3.5 0 .9.9.9 2.6 0 3.5Zm-.592-8.588L8.17 9.017c.23-.346.47-.685.717-1.017H5.066a.25.25 0 0 0-.214.121l-2.167 3.612ZM16 15.112c-.333.248-.672.487-1.018.718l-3.393 2.262.678 3.223 3.612-2.167a.25.25 0 0 0 .121-.214ZM17.5 8a1.5 1.5 0 1 1-3.001-.001A1.5 1.5 0 0 1 17.5 8Z\"/>"},{"n":"cut-on-fcp","l":"Cut on Final Cut Pro","s":"<path d=\"M0 4.75C0 3.784.784 3 1.75 3h20.5c.966 0 1.75.784 1.75 1.75v14.5A1.75 1.75 0 0 1 22.25 21H1.75A1.75 1.75 0 0 1 0 19.25Zm1.75-.25a.25.25 0 0 0-.25.25v14.5c0 .138.112.25.25.25h20.5a.25.25 0 0 0 .25-.25V4.75a.25.25 0 0 0-.25-.25Z\"/><path d=\"M9 15.584V8.416a.5.5 0 0 1 .77-.42l5.576 3.583a.5.5 0 0 1 0 .842L9.77 16.005a.5.5 0 0 1-.77-.42Z\"/>"},{"n":"fcp-creative-summit","l":"FCP Creative Summit","s":"<path d=\"M12 1c6.075 0 11 4.925 11 11s-4.925 11-11 11S1 18.075 1 12 5.925 1 12 1Zm3.241 10.5v-.001c-.1-2.708-.992-4.904-1.89-6.452a13.919 13.919 0 0 0-1.304-1.88L12 3.11l-.047.059c-.354.425-.828 1.06-1.304 1.88-.898 1.547-1.79 3.743-1.89 6.451Zm-12.728 0h4.745c.1-3.037 1.1-5.49 2.093-7.204.39-.672.78-1.233 1.119-1.673C6.11 3.329 2.746 7 2.513 11.5Zm18.974 0C21.254 7 17.89 3.329 13.53 2.623c.339.44.729 1.001 1.119 1.673.993 1.714 1.993 4.167 2.093 7.204ZM8.787 13c.182 2.478 1.02 4.5 1.862 5.953.382.661.818 1.29 1.304 1.88l.047.057.047-.059c.354-.425.828-1.06 1.304-1.88.842-1.451 1.679-3.471 1.862-5.951Zm-1.504 0H2.552a9.505 9.505 0 0 0 7.918 8.377 15.773 15.773 0 0 1-1.119-1.673C8.413 18.085 7.47 15.807 7.283 13Zm9.434 0c-.186 2.807-1.13 5.085-2.068 6.704-.39.672-.78 1.233-1.118 1.673A9.506 9.506 0 0 0 21.447 13Z\"/>"},{"n":"openletter","l":"Open Letter","s":"<path d=\"M0 4.75C0 3.784.784 3 1.75 3h20.5c.966 0 1.75.784 1.75 1.75v14.5A1.75 1.75 0 0 1 22.25 21H1.75A1.75 1.75 0 0 1 0 19.25Zm1.75-.25a.25.25 0 0 0-.25.25v14.5c0 .138.112.25.25.25h20.5a.25.25 0 0 0 .25-.25V4.75a.25.25 0 0 0-.25-.25Z\"/><path d=\"M5 8.75A.75.75 0 0 1 5.75 8h11.5a.75.75 0 0 1 0 1.5H5.75A.75.75 0 0 1 5 8.75Zm0 4a.75.75 0 0 1 .75-.75h5.5a.75.75 0 0 1 0 1.5h-5.5a.75.75 0 0 1-.75-.75Z\"/>"},{"n":"wishlist","l":"Wish List","s":"<path d=\"M12.596 2.043c1.075.076 2.059.281 2.743.956.698.688.92 1.696.92 2.941 0 .432-.057.955-.117 1.438-.026.2-.051.392-.076.572l-.056.429h2.05c.752 0 1.446.108 2.036.404.612.306 1.062.787 1.355 1.431.551 1.214.542 3.008.223 5.394l-.051.39c-.134 1.01-.248 1.872-.396 2.58-.166.795-.394 1.496-.816 2.05-.89 1.168-2.395 1.372-4.583 1.372-2.331 0-4.08-.418-5.544-.824l-.602-.17c-1.023-.29-1.852-.526-2.69-.586A1.75 1.75 0 0 1 5.25 22h-1.5A1.75 1.75 0 0 1 2 20.25V9.75C2 8.784 2.784 8 3.75 8h1.5a1.75 1.75 0 0 1 1.746 1.633 1.85 1.85 0 0 0 .523-.131c.961-.415 2.774-1.534 2.774-4.2V4.249c0-1.22 1.002-2.298 2.303-2.206ZM7 18.918c1.059.064 2.079.355 3.118.652l.568.16c1.406.39 3.006.77 5.142.77 2.277 0 3.004-.274 3.39-.781.216-.283.388-.718.54-1.448.136-.65.242-1.45.379-2.477l.05-.384c.32-2.4.253-3.795-.102-4.575-.16-.352-.375-.568-.66-.711-.305-.153-.74-.245-1.365-.245h-2.37c-.681 0-1.293-.57-1.211-1.328.026-.243.065-.537.105-.834l.07-.527c.06-.482.105-.921.105-1.25 0-1.125-.213-1.617-.473-1.873-.275-.27-.774-.455-1.795-.528-.351-.024-.698.274-.698.71v1.053c0 3.55-2.488 5.063-3.68 5.577-.372.16-.754.232-1.113.26ZM3.75 20.5h1.5a.25.25 0 0 0 .25-.25V9.75a.25.25 0 0 0-.25-.25h-1.5a.25.25 0 0 0-.25.25v10.5c0 .138.112.25.25.25Z\"/>"},{"n":"bugtracker","l":"Bug Tracker","s":"<path d=\"M7.72.22a.75.75 0 0 1 1.06 0l1.204 1.203A4.98 4.98 0 0 1 12 1c.717 0 1.4.151 2.016.423L15.22.22a.751.751 0 0 1 1.042.018.751.751 0 0 1 .018 1.042l-.971.972A4.991 4.991 0 0 1 17 6v1.104a2.755 2.755 0 0 1 1.917 1.974l1.998-.999a.75.75 0 0 1 .67 1.342L19 10.714V13.5l3.25.003a.75.75 0 0 1 0 1.5L19 15.001V16c0 .568-.068 1.134-.204 1.686l.04.018 2.75 1.375a.75.75 0 1 1-.671 1.342l-2.638-1.319A6.998 6.998 0 0 1 12 23a6.998 6.998 0 0 1-6.197-3.742l-2.758 1.181a.752.752 0 0 1-1.064-.776.752.752 0 0 1 .474-.602l2.795-1.199A6.976 6.976 0 0 1 5 16v-.996H1.75a.75.75 0 0 1 0-1.5H5v-2.79L2.415 9.42a.75.75 0 0 1 .67-1.342l1.998.999A2.756 2.756 0 0 1 7 7.104V6a4.99 4.99 0 0 1 1.69-3.748l-.97-.972a.75.75 0 0 1 0-1.06ZM6.5 9.75V16a5.5 5.5 0 1 0 11 0V9.75c0-.69-.56-1.25-1.25-1.25h-8.5c-.69 0-1.25.56-1.25 1.25ZM8.5 7h7V6a3.5 3.5 0 1 0-7 0Z\"/>"},{"n":"troubleshooting","l":"Troubleshooting","s":"<path d=\"M10.97 8.265a1.45 1.45 0 0 0-.487.57.75.75 0 0 1-1.341-.67c.2-.402.513-.826.997-1.148C10.627 6.69 11.244 6.5 12 6.5c.658 0 1.369.195 1.934.619a2.45 2.45 0 0 1 1.004 2.006c0 1.033-.513 1.72-1.027 2.215-.19.183-.399.358-.579.508l-.147.123a4.329 4.329 0 0 0-.435.409v1.37a.75.75 0 1 1-1.5 0v-1.473c0-.237.067-.504.247-.736.22-.28.486-.517.718-.714l.183-.153.001-.001c.172-.143.324-.27.47-.412.368-.355.569-.676.569-1.136a.953.953 0 0 0-.404-.806C12.766 8.118 12.384 8 12 8c-.494 0-.814.121-1.03.265ZM13 17a1 1 0 1 1-2 0 1 1 0 0 1 2 0Z\"/><path d=\"M12 1c6.075 0 11 4.925 11 11s-4.925 11-11 11S1 18.075 1 12 5.925 1 12 1ZM2.5 12a9.5 9.5 0 0 0 9.5 9.5 9.5 9.5 0 0 0 9.5-9.5A9.5 9.5 0 0 0 12 2.5 9.5 9.5 0 0 0 2.5 12Z\"/>"},{"n":"faq","l":"FAQ","s":"<path d=\"M0 3.75A.75.75 0 0 1 .75 3h7.497c1.566 0 2.945.8 3.751 2.014A4.495 4.495 0 0 1 15.75 3h7.5a.75.75 0 0 1 .75.75v15.063a.752.752 0 0 1-.755.75l-7.682-.052a3 3 0 0 0-2.142.878l-.89.891a.75.75 0 0 1-1.061 0l-.902-.901a2.996 2.996 0 0 0-2.121-.879H.75a.75.75 0 0 1-.75-.75Zm12.75 15.232a4.503 4.503 0 0 1 2.823-.971l6.927.047V4.5h-6.75a3 3 0 0 0-3 3ZM11.247 7.497a3 3 0 0 0-3-2.997H1.5V18h6.947c1.018 0 2.006.346 2.803.98Z\"/>"},{"n":"releasenotes","l":"Release Notes","s":"<path d=\"M3.5 3.75a.25.25 0 0 1 .25-.25h13.5a.25.25 0 0 1 .25.25v10a.75.75 0 0 0 1.5 0v-10A1.75 1.75 0 0 0 17.25 2H3.75A1.75 1.75 0 0 0 2 3.75v16.5c0 .966.784 1.75 1.75 1.75h7a.75.75 0 0 0 0-1.5h-7a.25.25 0 0 1-.25-.25V3.75Z\"/><path d=\"M6.25 7a.75.75 0 0 0 0 1.5h8.5a.75.75 0 0 0 0-1.5h-8.5Zm-.75 4.75a.75.75 0 0 1 .75-.75h4.5a.75.75 0 0 1 0 1.5h-4.5a.75.75 0 0 1-.75-.75Zm16.28 4.53a.75.75 0 1 0-1.06-1.06l-4.97 4.97-1.97-1.97a.75.75 0 1 0-1.06 1.06l2.5 2.5a.75.75 0 0 0 1.06 0l5.5-5.5Z\"/>"},{"n":"ipad","l":"i​Pad","s":"<path d=\"M10.25 5.25A.75.75 0 0 1 11 4.5h2A.75.75 0 0 1 13 6h-2a.75.75 0 0 1-.75-.75ZM12 19.5a1 1 0 1 0 0-2 1 1 0 0 0 0 2Z\"/><path d=\"M4 2.75C4 1.784 4.784 1 5.75 1h12.5c.966 0 1.75.784 1.75 1.75v18.5A1.75 1.75 0 0 1 18.25 23H5.75A1.75 1.75 0 0 1 4 21.25Zm1.75-.25a.25.25 0 0 0-.25.25v18.5c0 .138.112.25.25.25h12.5a.25.25 0 0 0 .25-.25V2.75a.25.25 0 0 0-.25-.25Z\"/>"},{"n":"accessibility","l":"Accessibility","s":"<symbol id=\"accessibility-icon-symbol\" viewBox=\"0 0 16 16\"><path d=\"M9.923 5.302c.063.063.122.129.178.198H14A.75.75 0 0 1 14 7h-3.3l.578 5.163.362 2.997a.75.75 0 0 1-1.49.18L9.868 13H6.132l-.282 2.34a.75.75 0 0 1-1.49-.18l.362-2.997L5.3 7H2a.75.75 0 0 1 0-1.5h3.9a2.54 2.54 0 0 1 .176-.198 3 3 0 1 1 3.847 0ZM9.2 7.073h-.001a1.206 1.206 0 0 0-2.398 0L6.305 11.5h3.39ZM9.5 3a1.5 1.5 0 1 0-3.001.001A1.5 1.5 0 0 0 9.5 3Z\"/></symbol><use xlink:href=\"#accessibility-icon-symbol\" />"},{"n":"camera-formats","l":"Camera Formats","s":"<symbol id=\"device-camera-icon-symbol\" viewBox=\"0 0 16 16\"><path d=\"M15 3c.55 0 1 .45 1 1v9c0 .55-.45 1-1 1H1c-.55 0-1-.45-1-1V4c0-.55.45-1 1-1 0-.55.45-1 1-1h4c.55 0 1 .45 1 1Zm-4.5 9c1.94 0 3.5-1.56 3.5-3.5S12.44 5 10.5 5 7 6.56 7 8.5 8.56 12 10.5 12ZM13 8.5c0 1.38-1.13 2.5-2.5 2.5S8 9.87 8 8.5 9.13 6 10.5 6 13 7.13 13 8.5ZM6 5V4H2v1Z\"/></symbol><use xlink:href=\"#device-camera-icon-symbol\" />"},{"n":"learn","l":"Learn","c":false,"i":[{"n":"360","l":"360° Video","s":"<path d=\"M15.5 12a3.5 3.5 0 1 1-7 0 3.5 3.5 0 0 1 7 0Z\"/><path d=\"M12 3.5c3.432 0 6.124 1.534 8.054 3.241 1.926 1.703 3.132 3.61 3.616 4.46a1.6 1.6 0 0 1 0 1.598c-.484.85-1.69 2.757-3.616 4.461-1.929 1.706-4.622 3.24-8.054 3.24-3.432 0-6.124-1.534-8.054-3.24C2.02 15.558.814 13.65.33 12.8a1.6 1.6 0 0 1 0-1.598c.484-.85 1.69-2.757 3.616-4.462C5.875 5.034 8.568 3.5 12 3.5ZM1.633 11.945a.115.115 0 0 0-.017.055c.001.02.006.039.017.056.441.774 1.551 2.527 3.307 4.08C6.691 17.685 9.045 19 12 19c2.955 0 5.31-1.315 7.06-2.864 1.756-1.553 2.866-3.306 3.307-4.08a.111.111 0 0 0 .017-.056.111.111 0 0 0-.017-.056c-.441-.773-1.551-2.527-3.307-4.08C17.309 6.315 14.955 5 12 5 9.045 5 6.69 6.314 4.94 7.865c-1.756 1.552-2.866 3.306-3.307 4.08Z\"/>"},{"n":"articles","l":"Articles","s":"<path d=\"M17.263 2.177a1.75 1.75 0 0 1 2.474 0l2.586 2.586a1.75 1.75 0 0 1 0 2.474L19.53 10.03l-.012.013L8.69 20.378a1.753 1.753 0 0 1-.699.409l-5.523 1.68a.748.748 0 0 1-.747-.188.748.748 0 0 1-.188-.747l1.673-5.5a1.75 1.75 0 0 1 .466-.756L14.476 4.963ZM4.708 16.361a.26.26 0 0 0-.067.108l-1.264 4.154 4.177-1.271a.253.253 0 0 0 .1-.059l10.273-9.806-2.94-2.939-10.279 9.813ZM19 8.44l2.263-2.262a.25.25 0 0 0 0-.354l-2.586-2.586a.25.25 0 0 0-.354 0L16.061 5.5Z\"/>"},{"n":"educational","l":"Educational","s":"<path d=\"M13.003 7.754a.75.75 0 0 1 .75-.75h5.232a.75.75 0 0 1 .53 1.28l-2.776 2.777c.55.097 1.057.253 1.492.483.905.477 1.504 1.284 1.504 2.418 0 .966-.471 1.75-1.172 2.27-.687.511-1.587.77-2.521.77-1.367 0-2.274-.528-2.667-.756a.75.75 0 0 1 .755-1.297c.331.193.953.553 1.912.553.673 0 1.243-.188 1.627-.473.37-.275.566-.635.566-1.067 0-.5-.219-.836-.703-1.091-.538-.284-1.375-.443-2.471-.443a.75.75 0 0 1-.53-1.28l2.643-2.644h-3.421a.75.75 0 0 1-.75-.75ZM7.88 15.215a1.4 1.4 0 0 0-1.446.83.75.75 0 0 1-1.37-.61 2.899 2.899 0 0 1 2.986-1.71c.589.06 1.139.323 1.557.743.434.446.685 1.058.685 1.778 0 1.641-1.254 2.437-2.12 2.986-.538.341-1.18.694-1.495 1.273H9.75a.75.75 0 0 1 0 1.5h-4a.75.75 0 0 1-.75-.75c0-1.799 1.337-2.63 2.243-3.21 1.032-.659 1.55-1.031 1.55-1.8 0-.355-.116-.584-.26-.732a1.071 1.071 0 0 0-.652-.298Zm.234-13.121a.75.75 0 0 1 .386.656V9h1.252a.75.75 0 0 1 0 1.5H5.75a.75.75 0 0 1 0-1.5H7V4.103l-.853.533a.749.749 0 1 1-.795-1.272l2-1.25a.749.749 0 0 1 .762-.02Z\"/>"},{"n":"history","l":"History of Final Cut Pro","s":"<path d=\"M11.998 2.5A9.503 9.503 0 0 0 3.378 8H5.75a.75.75 0 0 1 0 1.5H2a1 1 0 0 1-1-1V4.75a.75.75 0 0 1 1.5 0v1.697A10.997 10.997 0 0 1 11.998 1C18.074 1 23 5.925 23 12s-4.926 11-11.002 11C6.014 23 1.146 18.223 1 12.275a.75.75 0 0 1 1.5-.037 9.5 9.5 0 0 0 9.498 9.262c5.248 0 9.502-4.253 9.502-9.5s-4.254-9.5-9.502-9.5Z\"/><path d=\"M12.5 7.25a.75.75 0 0 0-1.5 0v5.5c0 .27.144.518.378.651l3.5 2a.75.75 0 0 0 .744-1.302L12.5 12.315V7.25Z\"/>"},{"n":"training","l":"Training","s":"<path d=\"M12.292 2.06v-.001l11.25 4.75a.749.749 0 0 1 0 1.382L19 10.108V15a.75.75 0 0 1-.11.391h-.001a2.84 2.84 0 0 1-.392.482c-.249.256-.625.58-1.163.896-1.08.638-2.776 1.23-5.334 1.23-.673 0-1.286-.041-1.846-.113a.75.75 0 0 1 .192-1.487c.492.063 1.042.1 1.654.1 2.317 0 3.746-.533 4.572-1.021.31-.178.596-.397.849-.65l.079-.085V10.74l-5.208 2.2a.75.75 0 0 1-.584 0L5.75 10.424v3.17c.502.129.96.391 1.327.758.579.578.923 1.41.923 2.428v4.5a.761.761 0 0 1-.345.634 2.157 2.157 0 0 1-.21.117 3.923 3.923 0 0 1-.52.213A6.121 6.121 0 0 1 5 22.532a6.092 6.092 0 0 1-1.925-.288 4.065 4.065 0 0 1-.52-.213 1.816 1.816 0 0 1-.22-.124.757.757 0 0 1-.335-.624v-4.5c0-1.02.344-1.85.923-2.43a2.904 2.904 0 0 1 1.327-.757V9.793L.458 8.19a.75.75 0 0 1 0-1.38l11.25-4.75a.75.75 0 0 1 .584 0ZM12 11.436 21.322 7.5 12 3.564 2.678 7.5ZM5 15c-.377 0-.745.141-1.017.413-.265.265-.483.7-.483 1.368v4.022c.299.105.797.228 1.5.228s1.201-.123 1.5-.228V16.78c0-.669-.218-1.103-.483-1.368A1.433 1.433 0 0 0 5 15Z\"/>"},{"n":"workflow","l":"Workflow","s":"<path d=\"M7.875 2.292a.114.114 0 0 0-.032.018A7.239 7.239 0 0 0 4.75 8.25a7.248 7.248 0 0 0 3.654 6.297c.57.327.982.955.941 1.682v.002l-.317 6.058a.75.75 0 1 1-1.498-.078l.317-6.062v-.004c.006-.09-.047-.215-.188-.296A8.749 8.749 0 0 1 3.25 8.25a8.738 8.738 0 0 1 3.732-7.169 1.547 1.547 0 0 1 1.709-.064c.484.292.809.835.809 1.46v4.714a.25.25 0 0 0 .119.213l2.25 1.385c.08.05.182.05.262 0l2.25-1.385a.25.25 0 0 0 .119-.213V2.478c0-.626.325-1.169.81-1.461a1.547 1.547 0 0 1 1.708.064 8.741 8.741 0 0 1 3.732 7.17 8.747 8.747 0 0 1-4.41 7.598c-.14.081-.193.206-.188.296v.004l.318 6.062a.75.75 0 1 1-1.498.078l-.317-6.058v-.002c-.041-.727.37-1.355.94-1.682A7.247 7.247 0 0 0 19.25 8.25a7.239 7.239 0 0 0-3.093-5.94.114.114 0 0 0-.032-.018l-.01-.001c-.003 0-.014 0-.031.01-.036.022-.084.079-.084.177V7.19c0 .608-.315 1.172-.833 1.49l-2.25 1.385a1.75 1.75 0 0 1-1.834 0l-2.25-1.384A1.752 1.752 0 0 1 8 7.192V2.477c0-.098-.048-.155-.084-.176a.068.068 0 0 0-.031-.011l-.01.001Z\"/>"}],"s":"<path d=\"M12.292 2.06v-.001l11.25 4.75a.749.749 0 0 1 0 1.382L19 10.108V15a.75.75 0 0 1-.11.391h-.001a2.84 2.84 0 0 1-.392.482c-.249.256-.625.58-1.163.896-1.08.638-2.776 1.23-5.334 1.23-.673 0-1.286-.041-1.846-.113a.75.75 0 0 1 .192-1.487c.492.063 1.042.1 1.654.1 2.317 0 3.746-.533 4.572-1.021.31-.178.596-.397.849-.65l.079-.085V10.74l-5.208 2.2a.75.75 0 0 1-.584 0L5.75 10.424v3.17c.502.129.96.391 1.327.758.579.578.923 1.41.923 2.428v4.5a.761.761 0 0 1-.345.634 2.157 2.157 0 0 1-.21.117 3.923 3.923 0 0 1-.52.213A6.121 6.121 0 0 1 5 22.532a6.092 6.092 0 0 1-1.925-.288 4.065 4.065 0 0 1-.52-.213 1.816 1.816 0 0 1-.22-.124.757.757 0 0 1-.335-.624v-4.5c0-1.02.344-1.85.923-2.43a2.904 2.904 0 0 1 1.327-.757V9.793L.458 8.19a.75.75 0 0 1 0-1.38l11.25-4.75a.75.75 0 0 1 .584 0ZM12 11.436 21.322 7.5 12 3.564 2.678 7.5ZM5 15c-.377 0-.745.141-1.017.413-.265.265-.483.7-.483 1.368v4.022c.299.105.797.228 1.5.228s1.201-.123 1.5-.228V16.78c0-.669-.218-1.103-.483-1.368A1.433 1.433 0 0 0 5 15Z\"/>"},{"n":"case-studies","l":"Case Studies","c":false,"i":[{"n":"schock","l":"SCHOCK","s":"<path d=\"M3.5 8a5.5 5.5 0 1 1 8.596 4.547 9.005 9.005 0 0 1 5.9 8.18.751.751 0 0 1-1.5.045 7.5 7.5 0 0 0-14.993 0 .75.75 0 0 1-1.499-.044 9.005 9.005 0 0 1 5.9-8.181A5.496 5.496 0 0 1 3.5 8ZM9 4a4 4 0 1 0 0 8 4 4 0 0 0 0-8Zm8.29 4c-.148 0-.292.01-.434.03a.75.75 0 1 1-.212-1.484 4.53 4.53 0 0 1 3.38 8.097 6.69 6.69 0 0 1 3.956 6.107.75.75 0 0 1-1.5 0 5.193 5.193 0 0 0-3.696-4.972l-.534-.16v-1.676l.41-.209A3.03 3.03 0 0 0 17.29 8Z\"/>"},{"n":"the-future-of-everything","l":"The Future of Everything","s":"<path d=\"M3.5 8a5.5 5.5 0 1 1 8.596 4.547 9.005 9.005 0 0 1 5.9 8.18.751.751 0 0 1-1.5.045 7.5 7.5 0 0 0-14.993 0 .75.75 0 0 1-1.499-.044 9.005 9.005 0 0 1 5.9-8.181A5.496 5.496 0 0 1 3.5 8ZM9 4a4 4 0 1 0 0 8 4 4 0 0 0 0-8Zm8.29 4c-.148 0-.292.01-.434.03a.75.75 0 1 1-.212-1.484 4.53 4.53 0 0 1 3.38 8.097 6.69 6.69 0 0 1 3.956 6.107.75.75 0 0 1-1.5 0 5.193 5.193 0 0 0-3.696-4.972l-.534-.16v-1.676l.41-.209A3.03 3.03 0 0 0 17.29 8Z\"/>"},{"n":"the-shadow","l":"Der Schatten (The Shadow)","s":"<path d=\"M3.5 8a5.5 5.5 0 1 1 8.596 4.547 9.005 9.005 0 0 1 5.9 8.18.751.751 0 0 1-1.5.045 7.5 7.5 0 0 0-14.993 0 .75.75 0 0 1-1.499-.044 9.005 9.005 0 0 1 5.9-8.181A5.496 5.496 0 0 1 3.5 8ZM9 4a4 4 0 1 0 0 8 4 4 0 0 0 0-8Zm8.29 4c-.148 0-.292.01-.434.03a.75.75 0 1 1-.212-1.484 4.53 4.53 0 0 1 3.38 8.097 6.69 6.69 0 0 1 3.956 6.107.75.75 0 0 1-1.5 0 5.193 5.193 0 0 0-3.696-4.972l-.534-.16v-1.676l.41-.209A3.03 3.03 0 0 0 17.29 8Z\"/>"},{"n":"indias-space-odyssey","l":"India’s Space Odyssey","s":"<path d=\"M3.5 8a5.5 5.5 0 1 1 8.596 4.547 9.005 9.005 0 0 1 5.9 8.18.751.751 0 0 1-1.5.045 7.5 7.5 0 0 0-14.993 0 .75.75 0 0 1-1.499-.044 9.005 9.005 0 0 1 5.9-8.181A5.496 5.496 0 0 1 3.5 8ZM9 4a4 4 0 1 0 0 8 4 4 0 0 0 0-8Zm8.29 4c-.148 0-.292.01-.434.03a.75.75 0 1 1-.212-1.484 4.53 4.53 0 0 1 3.38 8.097 6.69 6.69 0 0 1 3.956 6.107.75.75 0 0 1-1.5 0 5.193 5.193 0 0 0-3.696-4.972l-.534-.16v-1.676l.41-.209A3.03 3.03 0 0 0 17.29 8Z\"/>"},{"n":"blood-and-gold","l":"Blood & Gold","s":"<path d=\"M3.5 8a5.5 5.5 0 1 1 8.596 4.547 9.005 9.005 0 0 1 5.9 8.18.751.751 0 0 1-1.5.045 7.5 7.5 0 0 0-14.993 0 .75.75 0 0 1-1.499-.044 9.005 9.005 0 0 1 5.9-8.181A5.496 5.496 0 0 1 3.5 8ZM9 4a4 4 0 1 0 0 8 4 4 0 0 0 0-8Zm8.29 4c-.148 0-.292.01-.434.03a.75.75 0 1 1-.212-1.484 4.53 4.53 0 0 1 3.38 8.097 6.69 6.69 0 0 1 3.956 6.107.75.75 0 0 1-1.5 0 5.193 5.193 0 0 0-3.696-4.972l-.534-.16v-1.676l.41-.209A3.03 3.03 0 0 0 17.29 8Z\"/>"},{"n":"turn-of-the-tide","l":"Turn of the Tide","s":"<path d=\"M3.5 8a5.5 5.5 0 1 1 8.596 4.547 9.005 9.005 0 0 1 5.9 8.18.751.751 0 0 1-1.5.045 7.5 7.5 0 0 0-14.993 0 .75.75 0 0 1-1.499-.044 9.005 9.005 0 0 1 5.9-8.181A5.496 5.496 0 0 1 3.5 8ZM9 4a4 4 0 1 0 0 8 4 4 0 0 0 0-8Zm8.29 4c-.148 0-.292.01-.434.03a.75.75 0 1 1-.212-1.484 4.53 4.53 0 0 1 3.38 8.097 6.69 6.69 0 0 1 3.956 6.107.75.75 0 0 1-1.5 0 5.193 5.193 0 0 0-3.696-4.972l-.534-.16v-1.676l.41-.209A3.03 3.03 0 0 0 17.29 8Z\"/>"},{"n":"external-case-studies","l":"External Case Studies","s":"<path d=\"M15.5 2.25a.75.75 0 0 1 .75-.75h5.5a.75.75 0 0 1 .75.75v5.5a.75.75 0 0 1-1.5 0V4.06l-6.22 6.22a.75.75 0 1 1-1.06-1.06L19.94 3h-3.69a.75.75 0 0 1-.75-.75Z\"/><path d=\"M2.5 4.25c0-.966.784-1.75 1.75-1.75h8.5a.75.75 0 0 1 0 1.5h-8.5a.25.25 0 0 0-.25.25v15.5c0 .138.112.25.25.25h15.5a.25.25 0 0 0 .25-.25v-8.5a.75.75 0 0 1 1.5 0v8.5a1.75 1.75 0 0 1-1.75 1.75H4.25a1.75 1.75 0 0 1-1.75-1.75V4.25Z\"/>"}],"s":"<path d=\"M3.5 8a5.5 5.5 0 1 1 8.596 4.547 9.005 9.005 0 0 1 5.9 8.18.751.751 0 0 1-1.5.045 7.5 7.5 0 0 0-14.993 0 .75.75 0 0 1-1.499-.044 9.005 9.005 0 0 1 5.9-8.181A5.496 5.496 0 0 1 3.5 8ZM9 4a4 4 0 1 0 0 8 4 4 0 0 0 0-8Zm8.29 4c-.148 0-.292.01-.434.03a.75.75 0 1 1-.212-1.484 4.53 4.53 0 0 1 3.38 8.097 6.69 6.69 0 0 1 3.956 6.107.75.75 0 0 1-1.5 0 5.193 5.193 0 0 0-3.696-4.972l-.534-.16v-1.676l.41-.209A3.03 3.03 0 0 0 17.29 8Z\"/>"},{"n":"developer-case-studies","l":"Developer Case Studies","c":false,"i":[{"n":"transcriber","l":"Transcriber","s":"<path d=\"M8 8.807V3.5h-.563a.75.75 0 0 1 0-1.5h9.125a.75.75 0 0 1 0 1.5H16v5.307l5.125 9.301c.964 1.75-.302 3.892-2.299 3.892H5.174c-1.998 0-3.263-2.142-2.3-3.892ZM4.189 18.832a1.123 1.123 0 0 0 .985 1.668h13.652a1.123 1.123 0 0 0 .985-1.668L17.7 15H6.3ZM14.5 3.5h-5V9a.75.75 0 0 1-.093.362L7.127 13.5h9.746l-2.28-4.138A.75.75 0 0 1 14.5 9Z\"/>"}],"s":"<path d=\"M8 8.807V3.5h-.563a.75.75 0 0 1 0-1.5h9.125a.75.75 0 0 1 0 1.5H16v5.307l5.125 9.301c.964 1.75-.302 3.892-2.299 3.892H5.174c-1.998 0-3.263-2.142-2.3-3.892ZM4.189 18.832a1.123 1.123 0 0 0 .985 1.668h13.652a1.123 1.123 0 0 0 .985-1.668L17.7 15H6.3ZM14.5 3.5h-5V9a.75.75 0 0 1-.093.362L7.127 13.5h9.746l-2.28-4.138A.75.75 0 0 1 14.5 9Z\"/>"},{"n":"ecosystem","l":"Ecosystem","c":false,"i":[{"n":"assetmanagement","l":"Asset Management","s":"<path d=\"M4.75 3h14.5c.966 0 1.75.784 1.75 1.75v14.5A1.75 1.75 0 0 1 19.25 21H4.75A1.75 1.75 0 0 1 3 19.25V4.75C3 3.784 3.784 3 4.75 3Zm14.5 1.5H4.75a.25.25 0 0 0-.25.25v14.5c0 .138.112.25.25.25h.19l9.823-9.823a1.75 1.75 0 0 1 2.475 0l2.262 2.262V4.75a.25.25 0 0 0-.25-.25Zm.25 9.56-3.323-3.323a.25.25 0 0 0-.354 0L7.061 19.5H19.25a.25.25 0 0 0 .25-.25ZM8.5 11a2.5 2.5 0 1 1 0-5 2.5 2.5 0 0 1 0 5Zm0-1.5a1 1 0 1 0 0-2 1 1 0 0 0 0 2Z\"/>"},{"n":"motiontemplates","l":"Motion Templates","s":"<path d=\"M14.265 1.627c0 3.545 1.869 5.327 3.479 7.021 1.54 1.62 3.006 3.163 3.006 6.102 0 4.812-3.753 8.25-8.565 8.25-4.813 0-8.935-3.421-8.935-8.25 0-2.039.962-4.011 2.509-4.899.305-.175.672.007.803.334C7.563 12.684 8.797 12.64 9.437 12c.388-.387.47-1.116-.004-2.062-2.405-4.812 1.863-8.279 4.2-8.854.336-.082.615.198.632.543ZM12.185 21.5c4.059 0 7.065-2.84 7.065-6.75 0-2.337-1.093-3.489-2.678-5.158l-.021-.023c-1.44-1.517-3.139-3.351-3.649-6.557a6.148 6.148 0 0 0-1.911 1.76c-.787 1.144-1.147 2.633-.216 4.495.603 1.205.777 2.74-.277 3.794-.657.657-1.762 1.1-2.956.586-.752-.324-1.353-.955-1.838-1.79-.567.706-.954 1.74-.954 2.893 0 3.847 3.288 6.75 7.435 6.75Z\"/>"},{"n":"plugins","l":"Plugins","s":"<path d=\"M20.322.75h1.176a1.75 1.75 0 0 1 1.75 1.749v1.177a10.75 10.75 0 0 1-2.925 7.374l-1.228 1.304a23.699 23.699 0 0 1-1.596 1.542v5.038c0 .615-.323 1.184-.85 1.5l-4.514 2.709a.75.75 0 0 1-1.12-.488l-.963-4.572a1.305 1.305 0 0 1-.14-.129L8.04 15.96l-1.994-1.873a1.305 1.305 0 0 1-.129-.14l-4.571-.963a.75.75 0 0 1-.49-1.12l2.71-4.514c.316-.527.885-.85 1.5-.85h5.037a23.668 23.668 0 0 1 1.542-1.594l1.304-1.23A10.753 10.753 0 0 1 20.321.75Zm-6.344 4.018v-.001l-1.304 1.23a22.275 22.275 0 0 0-3.255 3.851l-2.193 3.29 1.859 1.744a.545.545 0 0 1 .034.034l1.743 1.858 3.288-2.192a22.263 22.263 0 0 0 3.854-3.257l1.228-1.303a9.251 9.251 0 0 0 2.517-6.346V2.5a.25.25 0 0 0-.25-.25h-1.177a9.252 9.252 0 0 0-6.344 2.518ZM6.5 21c-1.209 1.209-3.901 1.445-4.743 1.49a.236.236 0 0 1-.18-.067.236.236 0 0 1-.067-.18c.045-.842.281-3.534 1.49-4.743.9-.9 2.6-.9 3.5 0 .9.9.9 2.6 0 3.5Zm-.592-8.588L8.17 9.017c.23-.346.47-.685.717-1.017H5.066a.25.25 0 0 0-.214.121l-2.167 3.612ZM16 15.112c-.333.248-.672.487-1.018.718l-3.393 2.262.678 3.223 3.612-2.167a.25.25 0 0 0 .121-.214ZM17.5 8a1.5 1.5 0 1 1-3.001-.001A1.5 1.5 0 0 1 17.5 8Z\"/>"},{"n":"tools","l":"Tools","s":"<path d=\"M7.875 2.292a.114.114 0 0 0-.032.018A7.239 7.239 0 0 0 4.75 8.25a7.248 7.248 0 0 0 3.654 6.297c.57.327.982.955.941 1.682v.002l-.317 6.058a.75.75 0 1 1-1.498-.078l.317-6.062v-.004c.006-.09-.047-.215-.188-.296A8.749 8.749 0 0 1 3.25 8.25a8.738 8.738 0 0 1 3.732-7.169 1.547 1.547 0 0 1 1.709-.064c.484.292.809.835.809 1.46v4.714a.25.25 0 0 0 .119.213l2.25 1.385c.08.05.182.05.262 0l2.25-1.385a.25.25 0 0 0 .119-.213V2.478c0-.626.325-1.169.81-1.461a1.547 1.547 0 0 1 1.708.064 8.741 8.741 0 0 1 3.732 7.17 8.747 8.747 0 0 1-4.41 7.598c-.14.081-.193.206-.188.296v.004l.318 6.062a.75.75 0 1 1-1.498.078l-.317-6.058v-.002c-.041-.727.37-1.355.94-1.682A7.247 7.247 0 0 0 19.25 8.25a7.239 7.239 0 0 0-3.093-5.94.114.114 0 0 0-.032-.018l-.01-.001c-.003 0-.014 0-.031.01-.036.022-.084.079-.084.177V7.19c0 .608-.315 1.172-.833 1.49l-2.25 1.385a1.75 1.75 0 0 1-1.834 0l-2.25-1.384A1.752 1.752 0 0 1 8 7.192V2.477c0-.098-.048-.155-.084-.176a.068.068 0 0 0-.031-.011l-.01.001Z\"/>"},{"n":"workflowextensions","l":"Workflow Extensions","s":"<path d=\"M16 12a4 4 0 1 1-8 0 4 4 0 0 1 8 0Zm-1.5 0a2.5 2.5 0 1 0-5 0 2.5 2.5 0 0 0 5 0Z\"/><path d=\"M12 1c.266 0 .532.009.797.028.763.055 1.345.617 1.512 1.304l.352 1.45c.019.078.09.171.225.221.247.089.49.19.728.302.13.061.246.044.315.002l1.275-.776c.603-.368 1.411-.353 1.99.147.402.349.78.726 1.128 1.129.501.578.515 1.386.147 1.99l-.776 1.274c-.042.069-.058.185.002.315.112.238.213.481.303.728.048.135.142.205.22.225l1.45.352c.687.167 1.249.749 1.303 1.512.038.531.038 1.063 0 1.594-.054.763-.616 1.345-1.303 1.512l-1.45.352c-.078.019-.171.09-.221.225-.089.248-.19.491-.302.728-.061.13-.044.246-.002.315l.776 1.275c.368.603.353 1.411-.147 1.99-.349.402-.726.78-1.129 1.128-.578.501-1.386.515-1.99.147l-1.274-.776c-.069-.042-.185-.058-.314.002a8.606 8.606 0 0 1-.729.303c-.135.048-.205.142-.225.22l-.352 1.45c-.167.687-.749 1.249-1.512 1.303-.531.038-1.063.038-1.594 0-.763-.054-1.345-.616-1.512-1.303l-.352-1.45c-.019-.078-.09-.171-.225-.221a8.138 8.138 0 0 1-.728-.302c-.13-.061-.246-.044-.315-.002l-1.275.776c-.603.368-1.411.353-1.99-.147-.402-.349-.78-.726-1.128-1.129-.501-.578-.515-1.386-.147-1.99l.776-1.274c.042-.069.058-.185-.002-.314a8.606 8.606 0 0 1-.303-.729c-.048-.135-.142-.205-.22-.225l-1.45-.352c-.687-.167-1.249-.749-1.304-1.512a11.158 11.158 0 0 1 0-1.594c.055-.763.617-1.345 1.304-1.512l1.45-.352c.078-.019.171-.09.221-.225.089-.248.19-.491.302-.728.061-.13.044-.246.002-.315l-.776-1.275c-.368-.603-.353-1.411.147-1.99.349-.402.726-.78 1.129-1.128.578-.501 1.386-.515 1.99-.147l1.274.776c.069.042.185.058.315-.002.238-.112.481-.213.728-.303.135-.048.205-.142.225-.22l.352-1.45c.167-.687.749-1.249 1.512-1.304C11.466 1.01 11.732 1 12 1Zm-.69 1.525c-.055.004-.135.05-.161.161l-.353 1.45a1.832 1.832 0 0 1-1.172 1.277 7.147 7.147 0 0 0-.6.249 1.833 1.833 0 0 1-1.734-.074l-1.274-.776c-.098-.06-.186-.036-.228 0a9.774 9.774 0 0 0-.976.976c-.036.042-.06.131 0 .228l.776 1.274c.314.529.342 1.18.074 1.734a7.147 7.147 0 0 0-.249.6 1.831 1.831 0 0 1-1.278 1.173l-1.45.351c-.11.027-.156.107-.16.162a9.63 9.63 0 0 0 0 1.38c.004.055.05.135.161.161l1.45.353a1.832 1.832 0 0 1 1.277 1.172c.074.204.157.404.249.6.268.553.24 1.204-.074 1.733l-.776 1.275c-.06.098-.036.186 0 .228.301.348.628.675.976.976.042.036.131.06.228 0l1.274-.776a1.83 1.83 0 0 1 1.734-.075c.196.093.396.176.6.25a1.831 1.831 0 0 1 1.173 1.278l.351 1.45c.027.11.107.156.162.16a9.63 9.63 0 0 0 1.38 0c.055-.004.135-.05.161-.161l.353-1.45a1.834 1.834 0 0 1 1.172-1.278 6.82 6.82 0 0 0 .6-.248 1.831 1.831 0 0 1 1.733.074l1.275.776c.098.06.186.036.228 0 .348-.301.675-.628.976-.976.036-.042.06-.131 0-.228l-.776-1.275a1.834 1.834 0 0 1-.075-1.733c.093-.196.176-.396.25-.6a1.831 1.831 0 0 1 1.278-1.173l1.45-.351c.11-.027.156-.107.16-.162a9.63 9.63 0 0 0 0-1.38c-.004-.055-.05-.135-.161-.161l-1.45-.353c-.626-.152-1.08-.625-1.278-1.172a6.576 6.576 0 0 0-.248-.6 1.833 1.833 0 0 1 .074-1.734l.776-1.274c.06-.098.036-.186 0-.228a9.774 9.774 0 0 0-.976-.976c-.042-.036-.131-.06-.228 0l-1.275.776a1.831 1.831 0 0 1-1.733.074 6.88 6.88 0 0 0-.6-.249 1.835 1.835 0 0 1-1.173-1.278l-.351-1.45c-.027-.11-.107-.156-.162-.16a9.63 9.63 0 0 0-1.38 0Z\"/>"}],"s":"<path d=\"M7 11.5H2.938c-.794 0-1.438.644-1.438 1.437v8.313a.75.75 0 0 1-1.5 0v-8.312A2.939 2.939 0 0 1 2.937 10H7V6.151c0-.897.678-1.648 1.57-1.74l6.055-.626 1.006-1.174A1.752 1.752 0 0 1 16.96 2h1.29c.966 0 1.75.784 1.75 1.75V6h3.25a.75.75 0 0 1 0 1.5H20V14h3.25a.75.75 0 0 1 0 1.5H20v2.25a1.75 1.75 0 0 1-1.75 1.75h-1.29a1.75 1.75 0 0 1-1.329-.611l-1.006-1.174-6.055-.627A1.749 1.749 0 0 1 7 15.348Zm9.77-7.913v.001l-1.201 1.4a.75.75 0 0 1-.492.258l-6.353.657a.25.25 0 0 0-.224.249v9.196a.25.25 0 0 0 .224.249l6.353.657c.191.02.368.112.493.258l1.2 1.401a.252.252 0 0 0 .19.087h1.29a.25.25 0 0 0 .25-.25v-14a.25.25 0 0 0-.25-.25h-1.29a.252.252 0 0 0-.19.087Z\"/>"},{"n":"community","l":"Community","c":false,"i":[{"n":"podcasts","l":"Podcasts","s":"<path d=\"M20.485 2.515a.75.75 0 0 0-1.06 1.06A10.465 10.465 0 0 1 22.5 11c0 2.9-1.174 5.523-3.075 7.424a.75.75 0 0 0 1.06 1.061A11.965 11.965 0 0 0 24 11c0-3.314-1.344-6.315-3.515-8.485Zm-15.91 1.06a.75.75 0 0 0-1.06-1.06A11.965 11.965 0 0 0 0 11c0 3.313 1.344 6.314 3.515 8.485a.75.75 0 0 0 1.06-1.06A10.465 10.465 0 0 1 1.5 11c0-2.9 1.174-5.524 3.075-7.425ZM8.11 7.11a.75.75 0 0 0-1.06-1.06A6.98 6.98 0 0 0 5 11a6.98 6.98 0 0 0 2.05 4.95.75.75 0 0 0 1.06-1.061 5.48 5.48 0 0 1-1.61-3.89 5.48 5.48 0 0 1 1.61-3.888Zm8.84-1.06a.75.75 0 1 0-1.06 1.06A5.48 5.48 0 0 1 17.5 11a5.48 5.48 0 0 1-1.61 3.889.75.75 0 1 0 1.06 1.06A6.98 6.98 0 0 0 19 11a6.98 6.98 0 0 0-2.05-4.949ZM14 11a2 2 0 0 1-1.25 1.855v8.395a.75.75 0 0 1-1.5 0v-8.395A2 2 0 1 1 14 11Z\"/>"},{"n":"socialmedia","l":"Social Media","s":"<path d=\"M3.5 8a5.5 5.5 0 1 1 8.596 4.547 9.005 9.005 0 0 1 5.9 8.18.751.751 0 0 1-1.5.045 7.5 7.5 0 0 0-14.993 0 .75.75 0 0 1-1.499-.044 9.005 9.005 0 0 1 5.9-8.181A5.496 5.496 0 0 1 3.5 8ZM9 4a4 4 0 1 0 0 8 4 4 0 0 0 0-8Zm8.29 4c-.148 0-.292.01-.434.03a.75.75 0 1 1-.212-1.484 4.53 4.53 0 0 1 3.38 8.097 6.69 6.69 0 0 1 3.956 6.107.75.75 0 0 1-1.5 0 5.193 5.193 0 0 0-3.696-4.972l-.534-.16v-1.676l.41-.209A3.03 3.03 0 0 0 17.29 8Z\"/>"}],"s":"<path d=\"M1.75 1h12.5c.966 0 1.75.784 1.75 1.75v9.5A1.75 1.75 0 0 1 14.25 14H8.061l-2.574 2.573A1.458 1.458 0 0 1 3 15.543V14H1.75A1.75 1.75 0 0 1 0 12.25v-9.5C0 1.784.784 1 1.75 1ZM1.5 2.75v9.5c0 .138.112.25.25.25h2a.75.75 0 0 1 .75.75v2.19l2.72-2.72a.749.749 0 0 1 .53-.22h6.5a.25.25 0 0 0 .25-.25v-9.5a.25.25 0 0 0-.25-.25H1.75a.25.25 0 0 0-.25.25Z\"/><path d=\"M22.5 8.75a.25.25 0 0 0-.25-.25h-3.5a.75.75 0 0 1 0-1.5h3.5c.966 0 1.75.784 1.75 1.75v9.5A1.75 1.75 0 0 1 22.25 20H21v1.543a1.457 1.457 0 0 1-2.487 1.03L15.939 20H10.75A1.75 1.75 0 0 1 9 18.25v-1.465a.75.75 0 0 1 1.5 0v1.465c0 .138.112.25.25.25h5.5a.75.75 0 0 1 .53.22l2.72 2.72v-2.19a.75.75 0 0 1 .75-.75h2a.25.25 0 0 0 .25-.25v-9.5Z\"/>"},{"n":"hardware","l":"Hardware","c":false,"i":[{"n":"controlsurfaces","l":"Control Surfaces","s":"<path d=\"M7 11.5H2.938c-.794 0-1.438.644-1.438 1.437v8.313a.75.75 0 0 1-1.5 0v-8.312A2.939 2.939 0 0 1 2.937 10H7V6.151c0-.897.678-1.648 1.57-1.74l6.055-.626 1.006-1.174A1.752 1.752 0 0 1 16.96 2h1.29c.966 0 1.75.784 1.75 1.75V6h3.25a.75.75 0 0 1 0 1.5H20V14h3.25a.75.75 0 0 1 0 1.5H20v2.25a1.75 1.75 0 0 1-1.75 1.75h-1.29a1.75 1.75 0 0 1-1.329-.611l-1.006-1.174-6.055-.627A1.749 1.749 0 0 1 7 15.348Zm9.77-7.913v.001l-1.201 1.4a.75.75 0 0 1-.492.258l-6.353.657a.25.25 0 0 0-.224.249v9.196a.25.25 0 0 0 .224.249l6.353.657c.191.02.368.112.493.258l1.2 1.401a.252.252 0 0 0 .19.087h1.29a.25.25 0 0 0 .25-.25v-14a.25.25 0 0 0-.25-.25h-1.29a.252.252 0 0 0-.19.087Z\"/>"},{"n":"monitors","l":"Monitors","s":"<path d=\"M8.954 17H2.75A1.75 1.75 0 0 1 1 15.25V3.75C1 2.784 1.784 2 2.75 2h18.5c.966 0 1.75.784 1.75 1.75v11.5A1.75 1.75 0 0 1 21.25 17h-6.204c.171 1.375.805 2.652 1.769 3.757A.752.752 0 0 1 16.25 22h-8.5a.75.75 0 0 1-.565-1.243c.964-1.105 1.598-2.382 1.769-3.757ZM21.5 3.75a.25.25 0 0 0-.25-.25H2.75a.25.25 0 0 0-.25.25v11.5c0 .138.112.25.25.25h18.5a.25.25 0 0 0 .25-.25ZM13.537 17h-3.074c-.126 1.266-.564 2.445-1.223 3.5h5.52c-.659-1.055-1.098-2.234-1.223-3.5Z\"/>"},{"n":"storage","l":"Storage","s":"<path d=\"M2 4.75C2 3.784 2.784 3 3.75 3h4.971c.58 0 1.12.286 1.447.765l1.404 2.063c.046.069.124.11.207.11h8.471c.966 0 1.75.783 1.75 1.75V19.25A1.75 1.75 0 0 1 20.25 21H3.75A1.75 1.75 0 0 1 2 19.25Zm1.75-.25a.25.25 0 0 0-.25.25v14.5c0 .138.112.25.25.25h16.5a.25.25 0 0 0 .25-.25V7.687a.25.25 0 0 0-.25-.25h-8.471a1.75 1.75 0 0 1-1.447-.765L8.928 4.61a.252.252 0 0 0-.208-.11Z\"/>"}],"s":"<path d=\"M3.5 3.75C3.5 2.784 4.284 2 5.25 2h13.5c.966 0 1.75.784 1.75 1.75v7.5A1.75 1.75 0 0 1 18.75 13H5.25a1.75 1.75 0 0 1-1.75-1.75Zm-2 12c0-.966.784-1.75 1.75-1.75h17.5c.966 0 1.75.784 1.75 1.75v4a1.75 1.75 0 0 1-1.75 1.75H3.25a1.75 1.75 0 0 1-1.75-1.75ZM5.25 3.5a.25.25 0 0 0-.25.25v7.5c0 .138.112.25.25.25h13.5a.25.25 0 0 0 .25-.25v-7.5a.25.25 0 0 0-.25-.25Zm-2 12a.25.25 0 0 0-.25.25v4c0 .138.112.25.25.25h17.5a.25.25 0 0 0 .25-.25v-4a.25.25 0 0 0-.25-.25Z\"/><path d=\"M10 17.75a.75.75 0 0 1 .75-.75h6.5a.75.75 0 0 1 0 1.5h-6.5a.75.75 0 0 1-.75-.75Zm-4 0a.75.75 0 0 1 .75-.75h.5a.75.75 0 0 1 0 1.5h-.5a.75.75 0 0 1-.75-.75Z\"/>"},{"n":"motion","l":"Motion","c":false,"i":[{"n":"variables","l":"Variables","s":"<path d=\"M3 3a2 2 0 0 1 2-2h9.982a2 2 0 0 1 1.414.586l4.018 4.018A2 2 0 0 1 21 7.018V21a2 2 0 0 1-2 2H4.75a.75.75 0 0 1 0-1.5H19a.5.5 0 0 0 .5-.5V8.5h-4a2 2 0 0 1-2-2v-4H5a.5.5 0 0 0-.5.5v6.25a.75.75 0 0 1-1.5 0Zm12-.5v4a.5.5 0 0 0 .5.5h4a.5.5 0 0 0-.146-.336l-4.018-4.018A.5.5 0 0 0 15 2.5Z\"/><path d=\"M0 13.75C0 12.784.784 12 1.75 12h3c.966 0 1.75.784 1.75 1.75v4a1.75 1.75 0 0 1-1.75 1.75h-3A1.75 1.75 0 0 1 0 17.75Zm1.75-.25a.25.25 0 0 0-.25.25v4c0 .138.112.25.25.25h3a.25.25 0 0 0 .25-.25v-4a.25.25 0 0 0-.25-.25ZM9 12a.75.75 0 0 0 0 1.5h1.5V18H9a.75.75 0 0 0 0 1.5h4.5a.75.75 0 0 0 0-1.5H12v-5.25a.75.75 0 0 0-.75-.75H9Z\"/>"}],"s":"<path d=\"M10.25 0h3.5a.75.75 0 0 1 0 1.5h-1v1.278a9.954 9.954 0 0 1 5.636 2.276L19.72 3.72a.751.751 0 0 1 1.042.018.751.751 0 0 1 .018 1.042l-1.315 1.316A9.959 9.959 0 0 1 22 12.75c0 5.523-4.477 10-10 10s-10-4.477-10-10a9.959 9.959 0 0 1 2.535-6.654L3.22 4.78a.751.751 0 0 1 .018-1.042.751.751 0 0 1 1.042-.018l1.335 1.334a9.958 9.958 0 0 1 5.635-2.276V1.5h-1a.75.75 0 0 1 0-1.5ZM12 21.25a8.5 8.5 0 1 0-.001-17.001A8.5 8.5 0 0 0 12 21.25Zm4.03-12.53a.75.75 0 0 1 0 1.06l-2.381 2.382a1.75 1.75 0 1 1-1.06-1.06l2.38-2.382a.75.75 0 0 1 1.061 0Z\"/>"},{"n":"developers","l":"Developers","c":false,"i":[{"n":"applicationbundle","l":"Application Bundle","s":"<path d=\"M8.954 17H2.75A1.75 1.75 0 0 1 1 15.25V3.75C1 2.784 1.784 2 2.75 2h18.5c.966 0 1.75.784 1.75 1.75v11.5A1.75 1.75 0 0 1 21.25 17h-6.204c.171 1.375.805 2.652 1.769 3.757A.752.752 0 0 1 16.25 22h-8.5a.75.75 0 0 1-.565-1.243c.964-1.105 1.598-2.382 1.769-3.757ZM21.5 3.75a.25.25 0 0 0-.25-.25H2.75a.25.25 0 0 0-.25.25v11.5c0 .138.112.25.25.25h18.5a.25.25 0 0 0 .25-.25ZM13.537 17h-3.074c-.126 1.266-.564 2.445-1.223 3.5h5.52c-.659-1.055-1.098-2.234-1.223-3.5Z\"/>"},{"n":"benchmark","l":"Benchmark","s":"<path d=\"M3.38 8A9.502 9.502 0 0 1 12 2.5a9.502 9.502 0 0 1 9.215 7.182.75.75 0 1 0 1.456-.364C21.473 4.539 17.15 1 12 1a10.995 10.995 0 0 0-9.5 5.452V4.75a.75.75 0 0 0-1.5 0V8.5a1 1 0 0 0 1 1h3.75a.75.75 0 0 0 0-1.5H3.38Zm-.595 6.318a.75.75 0 0 0-1.455.364C2.527 19.461 6.85 23 12 23c4.052 0 7.592-2.191 9.5-5.451v1.701a.75.75 0 0 0 1.5 0V15.5a1 1 0 0 0-1-1h-3.75a.75.75 0 0 0 0 1.5h2.37A9.502 9.502 0 0 1 12 21.5c-4.446 0-8.181-3.055-9.215-7.182Z\"/><path d=\"M13.414 13.414a2 2 0 1 1-2.828-2.828 2 2 0 0 1 2.828 2.828Z\"/>"},{"n":"faq","l":"FAQ","s":"<path d=\"M0 3.75A.75.75 0 0 1 .75 3h7.497c1.566 0 2.945.8 3.751 2.014A4.495 4.495 0 0 1 15.75 3h7.5a.75.75 0 0 1 .75.75v15.063a.752.752 0 0 1-.755.75l-7.682-.052a3 3 0 0 0-2.142.878l-.89.891a.75.75 0 0 1-1.061 0l-.902-.901a2.996 2.996 0 0 0-2.121-.879H.75a.75.75 0 0 1-.75-.75Zm12.75 15.232a4.503 4.503 0 0 1 2.823-.971l6.927.047V4.5h-6.75a3 3 0 0 0-3 3ZM11.247 7.497a3 3 0 0 0-3-2.997H1.5V18h6.947c1.018 0 2.006.346 2.803.98Z\"/>"},{"n":"fcpxml","l":"FCPXML","s":"<path d=\"M3 3a2 2 0 0 1 2-2h9.982a2 2 0 0 1 1.414.586l4.018 4.018A2 2 0 0 1 21 7.018V21a2 2 0 0 1-2 2H4.75a.75.75 0 0 1 0-1.5H19a.5.5 0 0 0 .5-.5V8.5h-4a2 2 0 0 1-2-2v-4H5a.5.5 0 0 0-.5.5v6.25a.75.75 0 0 1-1.5 0Zm12-.5v4a.5.5 0 0 0 .5.5h4a.5.5 0 0 0-.146-.336l-4.018-4.018A.5.5 0 0 0 15 2.5Z\"/><path d=\"M4.53 12.24a.75.75 0 0 1-.039 1.06l-2.639 2.45 2.64 2.45a.75.75 0 1 1-1.022 1.1l-3.23-3a.75.75 0 0 1 0-1.1l3.23-3a.75.75 0 0 1 1.06.04Zm3.979 1.06a.75.75 0 1 1 1.02-1.1l3.231 3a.75.75 0 0 1 0 1.1l-3.23 3a.75.75 0 1 1-1.021-1.1l2.639-2.45-2.64-2.45Z\"/>"},{"n":"fxplug","l":"Fx​Plug","s":"<path d=\"M14.265 1.627c0 3.545 1.869 5.327 3.479 7.021 1.54 1.62 3.006 3.163 3.006 6.102 0 4.812-3.753 8.25-8.565 8.25-4.813 0-8.935-3.421-8.935-8.25 0-2.039.962-4.011 2.509-4.899.305-.175.672.007.803.334C7.563 12.684 8.797 12.64 9.437 12c.388-.387.47-1.116-.004-2.062-2.405-4.812 1.863-8.279 4.2-8.854.336-.082.615.198.632.543ZM12.185 21.5c4.059 0 7.065-2.84 7.065-6.75 0-2.337-1.093-3.489-2.678-5.158l-.021-.023c-1.44-1.517-3.139-3.351-3.649-6.557a6.148 6.148 0 0 0-1.911 1.76c-.787 1.144-1.147 2.633-.216 4.495.603 1.205.777 2.74-.277 3.794-.657.657-1.762 1.1-2.956.586-.752-.324-1.353-.955-1.838-1.79-.567.706-.954 1.74-.954 2.893 0 3.847 3.288 6.75 7.435 6.75Z\"/>"},{"n":"ixml","l":"i​XML","s":"<path d=\"M11.553 3.064A.75.75 0 0 1 12 3.75v16.5a.75.75 0 0 1-1.255.555L5.46 16H2.75A1.75 1.75 0 0 1 1 14.25v-4.5C1 8.784 1.784 8 2.75 8h2.71l5.285-4.805a.752.752 0 0 1 .808-.13ZM10.5 5.445l-4.245 3.86a.748.748 0 0 1-.505.195h-3a.25.25 0 0 0-.25.25v4.5c0 .138.112.25.25.25h3c.187 0 .367.069.505.195l4.245 3.86Zm8.218-1.223a.75.75 0 0 1 1.06 0c4.296 4.296 4.296 11.26 0 15.556a.75.75 0 0 1-1.06-1.06 9.5 9.5 0 0 0 0-13.436.75.75 0 0 1 0-1.06Z\"/><path d=\"M16.243 7.757a.75.75 0 1 0-1.061 1.061 4.5 4.5 0 0 1 0 6.364.75.75 0 0 0 1.06 1.06 6 6 0 0 0 0-8.485Z\"/>"},{"n":"librarybundle","l":"Library Bundle","s":"<path d=\"M3 2.75A2.75 2.75 0 0 1 5.75 0h14.5a.75.75 0 0 1 .75.75v20.5a.75.75 0 0 1-.75.75h-6a.75.75 0 0 1 0-1.5h5.25v-4H6A1.5 1.5 0 0 0 4.5 18v.75c0 .716.43 1.334 1.05 1.605a.75.75 0 0 1-.6 1.374A3.251 3.251 0 0 1 3 18.75ZM19.5 1.5H5.75c-.69 0-1.25.56-1.25 1.25v12.651A2.989 2.989 0 0 1 6 15h13.5Z\"/><path d=\"M7 18.25a.25.25 0 0 1 .25-.25h5a.25.25 0 0 1 .25.25v5.01a.25.25 0 0 1-.397.201l-2.206-1.604a.25.25 0 0 0-.294 0L7.397 23.46a.25.25 0 0 1-.397-.2v-5.01Z\"/>"},{"n":"patents","l":"Patents","s":"<path d=\"M12.75 2.75V4.5h1.975c.351 0 .694.106.984.303l1.697 1.154c.041.028.09.043.14.043h4.102a.75.75 0 0 1 0 1.5H20.07l3.366 7.68a.749.749 0 0 1-.23.896c-.1.074-.203.143-.31.206a6.296 6.296 0 0 1-.79.399 7.349 7.349 0 0 1-2.856.569 7.343 7.343 0 0 1-2.855-.568 6.205 6.205 0 0 1-.79-.4 3.205 3.205 0 0 1-.307-.202l-.005-.004a.749.749 0 0 1-.23-.896l3.368-7.68h-.886c-.351 0-.694-.106-.984-.303l-1.697-1.154a.246.246 0 0 0-.14-.043H12.75v14.5h4.487a.75.75 0 0 1 0 1.5H6.763a.75.75 0 0 1 0-1.5h4.487V6H9.275a.249.249 0 0 0-.14.043L7.439 7.197c-.29.197-.633.303-.984.303h-.886l3.368 7.68a.75.75 0 0 1-.209.878c-.08.065-.16.126-.31.223a6.077 6.077 0 0 1-.792.433 6.924 6.924 0 0 1-2.876.62 6.913 6.913 0 0 1-2.876-.62 6.077 6.077 0 0 1-.792-.433 3.483 3.483 0 0 1-.309-.221.762.762 0 0 1-.21-.88L3.93 7.5H2.353a.75.75 0 0 1 0-1.5h4.102c.05 0 .099-.015.141-.043l1.695-1.154c.29-.198.634-.303.985-.303h1.974V2.75a.75.75 0 0 1 1.5 0ZM2.193 15.198a5.414 5.414 0 0 0 2.557.635 5.414 5.414 0 0 0 2.557-.635L4.75 9.368Zm14.51-.024c.082.04.174.083.275.126.53.223 1.305.45 2.272.45a5.847 5.847 0 0 0 2.547-.576L19.25 9.367Z\"/>"},{"n":"toolsandframeworks","l":"Tools & Frameworks","s":"<path d=\"M7.875 2.292a.114.114 0 0 0-.032.018A7.239 7.239 0 0 0 4.75 8.25a7.248 7.248 0 0 0 3.654 6.297c.57.327.982.955.941 1.682v.002l-.317 6.058a.75.75 0 1 1-1.498-.078l.317-6.062v-.004c.006-.09-.047-.215-.188-.296A8.749 8.749 0 0 1 3.25 8.25a8.738 8.738 0 0 1 3.732-7.169 1.547 1.547 0 0 1 1.709-.064c.484.292.809.835.809 1.46v4.714a.25.25 0 0 0 .119.213l2.25 1.385c.08.05.182.05.262 0l2.25-1.385a.25.25 0 0 0 .119-.213V2.478c0-.626.325-1.169.81-1.461a1.547 1.547 0 0 1 1.708.064 8.741 8.741 0 0 1 3.732 7.17 8.747 8.747 0 0 1-4.41 7.598c-.14.081-.193.206-.188.296v.004l.318 6.062a.75.75 0 1 1-1.498.078l-.317-6.058v-.002c-.041-.727.37-1.355.94-1.682A7.247 7.247 0 0 0 19.25 8.25a7.239 7.239 0 0 0-3.093-5.94.114.114 0 0 0-.032-.018l-.01-.001c-.003 0-.014 0-.031.01-.036.022-.084.079-.084.177V7.19c0 .608-.315 1.172-.833 1.49l-2.25 1.385a1.75 1.75 0 0 1-1.834 0l-2.25-1.384A1.752 1.752 0 0 1 8 7.192V2.477c0-.098-.048-.155-.084-.176a.068.068 0 0 0-.031-.011l-.01.001Z\"/>"},{"n":"workflowextensions","l":"Workflow Extensions","s":"<path d=\"M0 3.75C0 2.784.784 2 1.75 2h20.5c.966 0 1.75.784 1.75 1.75v16.5A1.75 1.75 0 0 1 22.25 22H1.75A1.75 1.75 0 0 1 0 20.25ZM22.5 7h-21v13.25c0 .138.112.25.25.25h20.5a.25.25 0 0 0 .25-.25Zm-10-3.5v2h10V3.75a.25.25 0 0 0-.25-.25ZM7 3.5v2h4v-2Zm-5.25 0a.25.25 0 0 0-.25.25V5.5h4v-2Z\"/>"}],"s":"<path d=\"M9.25 12a.75.75 0 0 1-.22.53l-2.75 2.75a.75.75 0 0 1-1.06-1.06L7.44 12 5.22 9.78a.75.75 0 1 1 1.06-1.06l2.75 2.75c.141.14.22.331.22.53Zm2 2a.75.75 0 0 0 0 1.5h5a.75.75 0 0 0 0-1.5h-5Z\"/><path d=\"M0 4.75C0 3.784.784 3 1.75 3h20.5c.966 0 1.75.784 1.75 1.75v14.5A1.75 1.75 0 0 1 22.25 21H1.75A1.75 1.75 0 0 1 0 19.25Zm1.75-.25a.25.25 0 0 0-.25.25v14.5c0 .138.112.25.25.25h20.5a.25.25 0 0 0 .25-.25V4.75a.25.25 0 0 0-.25-.25Z\"/>"},{"n":"credits","l":"Credits","s":"<path d=\"M13 7.5a1 1 0 1 1-2 0 1 1 0 0 1 2 0Zm-3 3.75a.75.75 0 0 1 .75-.75h1.5a.75.75 0 0 1 .75.75v4.25h.75a.75.75 0 0 1 0 1.5h-3a.75.75 0 0 1 0-1.5h.75V12h-.75a.75.75 0 0 1-.75-.75Z\"/><path d=\"M12 1c6.075 0 11 4.925 11 11s-4.925 11-11 11S1 18.075 1 12 5.925 1 12 1ZM2.5 12a9.5 9.5 0 0 0 9.5 9.5 9.5 9.5 0 0 0 9.5-9.5A9.5 9.5 0 0 0 12 2.5 9.5 9.5 0 0 0 2.5 12Z\"/>"},{"n":"privacy","l":"Privacy Policy","s":"<path d=\"M12.75 2.75V4.5h1.975c.351 0 .694.106.984.303l1.697 1.154c.041.028.09.043.14.043h4.102a.75.75 0 0 1 0 1.5H20.07l3.366 7.68a.749.749 0 0 1-.23.896c-.1.074-.203.143-.31.206a6.296 6.296 0 0 1-.79.399 7.349 7.349 0 0 1-2.856.569 7.343 7.343 0 0 1-2.855-.568 6.205 6.205 0 0 1-.79-.4 3.205 3.205 0 0 1-.307-.202l-.005-.004a.749.749 0 0 1-.23-.896l3.368-7.68h-.886c-.351 0-.694-.106-.984-.303l-1.697-1.154a.246.246 0 0 0-.14-.043H12.75v14.5h4.487a.75.75 0 0 1 0 1.5H6.763a.75.75 0 0 1 0-1.5h4.487V6H9.275a.249.249 0 0 0-.14.043L7.439 7.197c-.29.197-.633.303-.984.303h-.886l3.368 7.68a.75.75 0 0 1-.209.878c-.08.065-.16.126-.31.223a6.077 6.077 0 0 1-.792.433 6.924 6.924 0 0 1-2.876.62 6.913 6.913 0 0 1-2.876-.62 6.077 6.077 0 0 1-.792-.433 3.483 3.483 0 0 1-.309-.221.762.762 0 0 1-.21-.88L3.93 7.5H2.353a.75.75 0 0 1 0-1.5h4.102c.05 0 .099-.015.141-.043l1.695-1.154c.29-.198.634-.303.985-.303h1.974V2.75a.75.75 0 0 1 1.5 0ZM2.193 15.198a5.414 5.414 0 0 0 2.557.635 5.414 5.414 0 0 0 2.557-.635L4.75 9.368Zm14.51-.024c.082.04.174.083.275.126.53.223 1.305.45 2.272.45a5.847 5.847 0 0 0 2.547-.576L19.25 9.367Z\"/>"},{"n":"contribute","l":"Contribute","s":"<symbol id=\"mark-github-icon-symbol\" viewBox=\"0 0 16 16\"><path d=\"M8 0c4.42 0 8 3.58 8 8a8.013 8.013 0 0 1-5.45 7.59c-.4.08-.55-.17-.55-.38 0-.27.01-1.13.01-2.2 0-.75-.25-1.23-.54-1.48 1.78-.2 3.65-.88 3.65-3.95 0-.88-.31-1.59-.82-2.15.08-.2.36-1.02-.08-2.12 0 0-.67-.22-2.2.82-.64-.18-1.32-.27-2-.27-.68 0-1.36.09-2 .27-1.53-1.03-2.2-.82-2.2-.82-.44 1.1-.16 1.92-.08 2.12-.51.56-.82 1.28-.82 2.15 0 3.06 1.86 3.75 3.64 3.95-.23.2-.44.55-.51 1.07-.46.21-1.61.55-2.33-.66-.15-.24-.6-.83-1.23-.82-.67.01-.27.38.01.53.34.19.73.9.82 1.13.16.45.68 1.31 2.69.94 0 .67.01 1.3.01 1.49 0 .21-.15.45-.55.38A7.995 7.995 0 0 1 0 8c0-4.42 3.58-8 8-8Z\"/></symbol><use xlink:href=\"#mark-github-icon-symbol\" />"}],"search":{"mode":0,"minChars":2,"maxResults":20,"placeholder":"Search","hotkeys":["k"],"noResultsFoundMsg":"Sorry, no results found.","recognizeLanguages":true,"languages":[0],"preload":false},"resources":{"History_Title_Label":"History","History_ClearLink_Label":"Clear","History_NoHistory_Label":"No history items","API_AccessFilter_Label":"Access","API_ParameterSection_Label":"PARAMETERS","API_SignatureSection_Label":"SIGNATURE","API_CopyHint_Label":"Copy","API_CopyNameHint_Label":"Copy name","API_CopyLinkHint_Label":"Copy link","API_CopiedAckHint_Label":"Copied!","API_MoreOverloads_Label":"more","API_MoreDropdownItems_Label":"More","API_OptionalParameter_Label":"optional","API_DefaultParameterValue_Label":"Default value","API_InheritedFilter_Label":"Inherited","Search_Input_Placeholder":"Search","Toc_Contents_Label":"Contents","Toc_RelatedClasses_Label":"Related Classes","History_JustNowTime_Label":"just now","History_AgoTime_Label":"ago","History_YearTime_Label":"y","History_MonthTime_Label":"mo","History_DayTime_Label":"d","History_HourTime_Label":"h","History_MinuteTime_Label":"m","History_SecondTime_Label":"s"}};
+var __DOCS_CONFIG__ = {"id":"zXRPodgf86kuu161iEkFkh/fKFLiIgq6NL0","key":"51OKNBFXoPEgWRL4qG4W/+raKi4jTYEDRxNwVtZLM9s.BM9KKMUCl4c+6rF7H6gb1Oz4FjyUNqhKoE8lOVWxC0cI71kvDooVx9aMtoP2OZbmxzPQmd9xGFPIIUBiMEELGg.300066","base":"/","host":"fcp.cafe","version":"1.0.0","useRelativePaths":true,"documentName":"index.html","appendDocumentName":false,"trailingSlash":true,"preloadSearch":false,"cacheBustingToken":"3.1.0.745627842312","cacheBustingStrategy":"query","sidebarFilterPlaceholder":"Filter","toolbarFilterPlaceholder":"Filter","showSidebarFilter":true,"filterNotFoundMsg":"No member names found containing the query \"{query}\"","maxHistoryItems":15,"homeIcon":"<path d=\"M12.97 2.59a1.5 1.5 0 00-1.94 161 0l-7.5 6.363A1.5 1.5 0 003 10.097V19.5A1.5 1.5 0 004.5 21h4.75a.75.75 0 00.75-.75V14h4v6.25c0 .414.336.75.75.75h4.75a1.5 1.5 0 001.5-1.5v-9.403a1.5 1.5 0 00-.53-1.144l-7.5-6.363z\"></path>","access":[{"value":"public","label":"Public"},{"value":"protected","label":"Protected"}],"toolbarLinks":[{"id":"fields","label":"Fields"},{"id":"properties","label":"Properties"},{"id":"methods","label":"Methods"},{"id":"events","label":"Events"}],"sidebar":[{"n":"/","l":"Latest News","s":"<path d=\"M20.485 2.515a.75.75 0 0 0-1.06 1.06A10.465 10.465 0 0 1 22.5 11c0 2.9-1.174 5.523-3.075 7.424a.75.75 0 0 0 1.06 1.061A11.965 11.965 0 0 0 24 11c0-3.314-1.344-6.315-3.515-8.485Zm-15.91 1.06a.75.75 0 0 0-1.06-1.06A11.965 11.965 0 0 0 0 11c0 3.313 1.344 6.314 3.515 8.485a.75.75 0 0 0 1.06-1.06A10.465 10.465 0 0 1 1.5 11c0-2.9 1.174-5.524 3.075-7.425ZM8.11 7.11a.75.75 0 0 0-1.06-1.06A6.98 6.98 0 0 0 5 11a6.98 6.98 0 0 0 2.05 4.95.75.75 0 0 0 1.06-1.061 5.48 5.48 0 0 1-1.61-3.89 5.48 5.48 0 0 1 1.61-3.888Zm8.84-1.06a.75.75 0 1 0-1.06 1.06A5.48 5.48 0 0 1 17.5 11a5.48 5.48 0 0 1-1.61 3.889.75.75 0 1 0 1.06 1.06A6.98 6.98 0 0 0 19 11a6.98 6.98 0 0 0-2.05-4.949ZM14 11a2 2 0 0 1-1.25 1.855v8.395a.75.75 0 0 1-1.5 0v-8.395A2 2 0 1 1 14 11Z\"/>"},{"n":"latenite-technology","l":"Late​Nite Technology","s":"<path d=\"M12 2.5c-3.81 0-6.5 2.743-6.5 6.119 0 1.536.632 2.572 1.425 3.56.172.215.347.422.527.635l.096.112c.21.25.427.508.63.774.404.531.783 1.128.995 1.834a.75.75 0 0 1-1.436.432c-.138-.46-.397-.89-.753-1.357a18.111 18.111 0 0 0-.582-.714l-.092-.11c-.18-.212-.37-.436-.555-.667C4.87 12.016 4 10.651 4 8.618 4 4.363 7.415 1 12 1s8 3.362 8 7.619c0 2.032-.87 3.397-1.755 4.5-.185.23-.375.454-.555.667l-.092.109c-.21.248-.405.481-.582.714-.356.467-.615.898-.753 1.357a.751.751 0 0 1-1.437-.432c.213-.706.592-1.303.997-1.834.202-.266.419-.524.63-.774l.095-.112c.18-.213.355-.42.527-.634.793-.99 1.425-2.025 1.425-3.561C18.5 5.243 15.81 2.5 12 2.5ZM8.75 18h6.5a.75.75 0 0 1 0 1.5h-6.5a.75.75 0 0 1 0-1.5Zm.75 3.75a.75.75 0 0 1 .75-.75h3.5a.75.75 0 0 1 0 1.5h-3.5a.75.75 0 0 1-.75-.75Z\"/>"},{"n":"newbies","l":"New to Final Cut Pro?","s":"<path d=\"M20.322.75h1.176a1.75 1.75 0 0 1 1.75 1.749v1.177a10.75 10.75 0 0 1-2.925 7.374l-1.228 1.304a23.699 23.699 0 0 1-1.596 1.542v5.038c0 .615-.323 1.184-.85 1.5l-4.514 2.709a.75.75 0 0 1-1.12-.488l-.963-4.572a1.305 1.305 0 0 1-.14-.129L8.04 15.96l-1.994-1.873a1.305 1.305 0 0 1-.129-.14l-4.571-.963a.75.75 0 0 1-.49-1.12l2.71-4.514c.316-.527.885-.85 1.5-.85h5.037a23.668 23.668 0 0 1 1.542-1.594l1.304-1.23A10.753 10.753 0 0 1 20.321.75Zm-6.344 4.018v-.001l-1.304 1.23a22.275 22.275 0 0 0-3.255 3.851l-2.193 3.29 1.859 1.744a.545.545 0 0 1 .034.034l1.743 1.858 3.288-2.192a22.263 22.263 0 0 0 3.854-3.257l1.228-1.303a9.251 9.251 0 0 0 2.517-6.346V2.5a.25.25 0 0 0-.25-.25h-1.177a9.252 9.252 0 0 0-6.344 2.518ZM6.5 21c-1.209 1.209-3.901 1.445-4.743 1.49a.236.236 0 0 1-.18-.067.236.236 0 0 1-.067-.18c.045-.842.281-3.534 1.49-4.743.9-.9 2.6-.9 3.5 0 .9.9.9 2.6 0 3.5Zm-.592-8.588L8.17 9.017c.23-.346.47-.685.717-1.017H5.066a.25.25 0 0 0-.214.121l-2.167 3.612ZM16 15.112c-.333.248-.672.487-1.018.718l-3.393 2.262.678 3.223 3.612-2.167a.25.25 0 0 0 .121-.214ZM17.5 8a1.5 1.5 0 1 1-3.001-.001A1.5 1.5 0 0 1 17.5 8Z\"/>"},{"n":"cut-on-fcp","l":"Cut on Final Cut Pro","s":"<path d=\"M0 4.75C0 3.784.784 3 1.75 3h20.5c.966 0 1.75.784 1.75 1.75v14.5A1.75 1.75 0 0 1 22.25 21H1.75A1.75 1.75 0 0 1 0 19.25Zm1.75-.25a.25.25 0 0 0-.25.25v14.5c0 .138.112.25.25.25h20.5a.25.25 0 0 0 .25-.25V4.75a.25.25 0 0 0-.25-.25Z\"/><path d=\"M9 15.584V8.416a.5.5 0 0 1 .77-.42l5.576 3.583a.5.5 0 0 1 0 .842L9.77 16.005a.5.5 0 0 1-.77-.42Z\"/>"},{"n":"fcp-creative-summit","l":"FCP Creative Summit","s":"<path d=\"M12 1c6.075 0 11 4.925 11 11s-4.925 11-11 11S1 18.075 1 12 5.925 1 12 1Zm3.241 10.5v-.001c-.1-2.708-.992-4.904-1.89-6.452a13.919 13.919 0 0 0-1.304-1.88L12 3.11l-.047.059c-.354.425-.828 1.06-1.304 1.88-.898 1.547-1.79 3.743-1.89 6.451Zm-12.728 0h4.745c.1-3.037 1.1-5.49 2.093-7.204.39-.672.78-1.233 1.119-1.673C6.11 3.329 2.746 7 2.513 11.5Zm18.974 0C21.254 7 17.89 3.329 13.53 2.623c.339.44.729 1.001 1.119 1.673.993 1.714 1.993 4.167 2.093 7.204ZM8.787 13c.182 2.478 1.02 4.5 1.862 5.953.382.661.818 1.29 1.304 1.88l.047.057.047-.059c.354-.425.828-1.06 1.304-1.88.842-1.451 1.679-3.471 1.862-5.951Zm-1.504 0H2.552a9.505 9.505 0 0 0 7.918 8.377 15.773 15.773 0 0 1-1.119-1.673C8.413 18.085 7.47 15.807 7.283 13Zm9.434 0c-.186 2.807-1.13 5.085-2.068 6.704-.39.672-.78 1.233-1.118 1.673A9.506 9.506 0 0 0 21.447 13Z\"/>"},{"n":"openletter","l":"Open Letter","s":"<path d=\"M0 4.75C0 3.784.784 3 1.75 3h20.5c.966 0 1.75.784 1.75 1.75v14.5A1.75 1.75 0 0 1 22.25 21H1.75A1.75 1.75 0 0 1 0 19.25Zm1.75-.25a.25.25 0 0 0-.25.25v14.5c0 .138.112.25.25.25h20.5a.25.25 0 0 0 .25-.25V4.75a.25.25 0 0 0-.25-.25Z\"/><path d=\"M5 8.75A.75.75 0 0 1 5.75 8h11.5a.75.75 0 0 1 0 1.5H5.75A.75.75 0 0 1 5 8.75Zm0 4a.75.75 0 0 1 .75-.75h5.5a.75.75 0 0 1 0 1.5h-5.5a.75.75 0 0 1-.75-.75Z\"/>"},{"n":"wishlist","l":"Wish List","s":"<path d=\"M12.596 2.043c1.075.076 2.059.281 2.743.956.698.688.92 1.696.92 2.941 0 .432-.057.955-.117 1.438-.026.2-.051.392-.076.572l-.056.429h2.05c.752 0 1.446.108 2.036.404.612.306 1.062.787 1.355 1.431.551 1.214.542 3.008.223 5.394l-.051.39c-.134 1.01-.248 1.872-.396 2.58-.166.795-.394 1.496-.816 2.05-.89 1.168-2.395 1.372-4.583 1.372-2.331 0-4.08-.418-5.544-.824l-.602-.17c-1.023-.29-1.852-.526-2.69-.586A1.75 1.75 0 0 1 5.25 22h-1.5A1.75 1.75 0 0 1 2 20.25V9.75C2 8.784 2.784 8 3.75 8h1.5a1.75 1.75 0 0 1 1.746 1.633 1.85 1.85 0 0 0 .523-.131c.961-.415 2.774-1.534 2.774-4.2V4.249c0-1.22 1.002-2.298 2.303-2.206ZM7 18.918c1.059.064 2.079.355 3.118.652l.568.16c1.406.39 3.006.77 5.142.77 2.277 0 3.004-.274 3.39-.781.216-.283.388-.718.54-1.448.136-.65.242-1.45.379-2.477l.05-.384c.32-2.4.253-3.795-.102-4.575-.16-.352-.375-.568-.66-.711-.305-.153-.74-.245-1.365-.245h-2.37c-.681 0-1.293-.57-1.211-1.328.026-.243.065-.537.105-.834l.07-.527c.06-.482.105-.921.105-1.25 0-1.125-.213-1.617-.473-1.873-.275-.27-.774-.455-1.795-.528-.351-.024-.698.274-.698.71v1.053c0 3.55-2.488 5.063-3.68 5.577-.372.16-.754.232-1.113.26ZM3.75 20.5h1.5a.25.25 0 0 0 .25-.25V9.75a.25.25 0 0 0-.25-.25h-1.5a.25.25 0 0 0-.25.25v10.5c0 .138.112.25.25.25Z\"/>"},{"n":"bugtracker","l":"Bug Tracker","s":"<path d=\"M7.72.22a.75.75 0 0 1 1.06 0l1.204 1.203A4.98 4.98 0 0 1 12 1c.717 0 1.4.151 2.016.423L15.22.22a.751.751 0 0 1 1.042.018.751.751 0 0 1 .018 1.042l-.971.972A4.991 4.991 0 0 1 17 6v1.104a2.755 2.755 0 0 1 1.917 1.974l1.998-.999a.75.75 0 0 1 .67 1.342L19 10.714V13.5l3.25.003a.75.75 0 0 1 0 1.5L19 15.001V16c0 .568-.068 1.134-.204 1.686l.04.018 2.75 1.375a.75.75 0 1 1-.671 1.342l-2.638-1.319A6.998 6.998 0 0 1 12 23a6.998 6.998 0 0 1-6.197-3.742l-2.758 1.181a.752.752 0 0 1-1.064-.776.752.752 0 0 1 .474-.602l2.795-1.199A6.976 6.976 0 0 1 5 16v-.996H1.75a.75.75 0 0 1 0-1.5H5v-2.79L2.415 9.42a.75.75 0 0 1 .67-1.342l1.998.999A2.756 2.756 0 0 1 7 7.104V6a4.99 4.99 0 0 1 1.69-3.748l-.97-.972a.75.75 0 0 1 0-1.06ZM6.5 9.75V16a5.5 5.5 0 1 0 11 0V9.75c0-.69-.56-1.25-1.25-1.25h-8.5c-.69 0-1.25.56-1.25 1.25ZM8.5 7h7V6a3.5 3.5 0 1 0-7 0Z\"/>"},{"n":"troubleshooting","l":"Troubleshooting","s":"<path d=\"M10.97 8.265a1.45 1.45 0 0 0-.487.57.75.75 0 0 1-1.341-.67c.2-.402.513-.826.997-1.148C10.627 6.69 11.244 6.5 12 6.5c.658 0 1.369.195 1.934.619a2.45 2.45 0 0 1 1.004 2.006c0 1.033-.513 1.72-1.027 2.215-.19.183-.399.358-.579.508l-.147.123a4.329 4.329 0 0 0-.435.409v1.37a.75.75 0 1 1-1.5 0v-1.473c0-.237.067-.504.247-.736.22-.28.486-.517.718-.714l.183-.153.001-.001c.172-.143.324-.27.47-.412.368-.355.569-.676.569-1.136a.953.953 0 0 0-.404-.806C12.766 8.118 12.384 8 12 8c-.494 0-.814.121-1.03.265ZM13 17a1 1 0 1 1-2 0 1 1 0 0 1 2 0Z\"/><path d=\"M12 1c6.075 0 11 4.925 11 11s-4.925 11-11 11S1 18.075 1 12 5.925 1 12 1ZM2.5 12a9.5 9.5 0 0 0 9.5 9.5 9.5 9.5 0 0 0 9.5-9.5A9.5 9.5 0 0 0 12 2.5 9.5 9.5 0 0 0 2.5 12Z\"/>"},{"n":"faq","l":"FAQ","s":"<path d=\"M0 3.75A.75.75 0 0 1 .75 3h7.497c1.566 0 2.945.8 3.751 2.014A4.495 4.495 0 0 1 15.75 3h7.5a.75.75 0 0 1 .75.75v15.063a.752.752 0 0 1-.755.75l-7.682-.052a3 3 0 0 0-2.142.878l-.89.891a.75.75 0 0 1-1.061 0l-.902-.901a2.996 2.996 0 0 0-2.121-.879H.75a.75.75 0 0 1-.75-.75Zm12.75 15.232a4.503 4.503 0 0 1 2.823-.971l6.927.047V4.5h-6.75a3 3 0 0 0-3 3ZM11.247 7.497a3 3 0 0 0-3-2.997H1.5V18h6.947c1.018 0 2.006.346 2.803.98Z\"/>"},{"n":"releasenotes","l":"Release Notes","s":"<path d=\"M3.5 3.75a.25.25 0 0 1 .25-.25h13.5a.25.25 0 0 1 .25.25v10a.75.75 0 0 0 1.5 0v-10A1.75 1.75 0 0 0 17.25 2H3.75A1.75 1.75 0 0 0 2 3.75v16.5c0 .966.784 1.75 1.75 1.75h7a.75.75 0 0 0 0-1.5h-7a.25.25 0 0 1-.25-.25V3.75Z\"/><path d=\"M6.25 7a.75.75 0 0 0 0 1.5h8.5a.75.75 0 0 0 0-1.5h-8.5Zm-.75 4.75a.75.75 0 0 1 .75-.75h4.5a.75.75 0 0 1 0 1.5h-4.5a.75.75 0 0 1-.75-.75Zm16.28 4.53a.75.75 0 1 0-1.06-1.06l-4.97 4.97-1.97-1.97a.75.75 0 1 0-1.06 1.06l2.5 2.5a.75.75 0 0 0 1.06 0l5.5-5.5Z\"/>"},{"n":"ipad","l":"i​Pad","s":"<path d=\"M10.25 5.25A.75.75 0 0 1 11 4.5h2A.75.75 0 0 1 13 6h-2a.75.75 0 0 1-.75-.75ZM12 19.5a1 1 0 1 0 0-2 1 1 0 0 0 0 2Z\"/><path d=\"M4 2.75C4 1.784 4.784 1 5.75 1h12.5c.966 0 1.75.784 1.75 1.75v18.5A1.75 1.75 0 0 1 18.25 23H5.75A1.75 1.75 0 0 1 4 21.25Zm1.75-.25a.25.25 0 0 0-.25.25v18.5c0 .138.112.25.25.25h12.5a.25.25 0 0 0 .25-.25V2.75a.25.25 0 0 0-.25-.25Z\"/>"},{"n":"accessibility","l":"Accessibility","s":"<symbol id=\"accessibility-icon-symbol\" viewBox=\"0 0 16 16\"><path d=\"M9.923 5.302c.063.063.122.129.178.198H14A.75.75 0 0 1 14 7h-3.3l.578 5.163.362 2.997a.75.75 0 0 1-1.49.18L9.868 13H6.132l-.282 2.34a.75.75 0 0 1-1.49-.18l.362-2.997L5.3 7H2a.75.75 0 0 1 0-1.5h3.9a2.54 2.54 0 0 1 .176-.198 3 3 0 1 1 3.847 0ZM9.2 7.073h-.001a1.206 1.206 0 0 0-2.398 0L6.305 11.5h3.39ZM9.5 3a1.5 1.5 0 1 0-3.001.001A1.5 1.5 0 0 0 9.5 3Z\"/></symbol><use xlink:href=\"#accessibility-icon-symbol\" />"},{"n":"camera-formats","l":"Camera Formats","s":"<symbol id=\"device-camera-icon-symbol\" viewBox=\"0 0 16 16\"><path d=\"M15 3c.55 0 1 .45 1 1v9c0 .55-.45 1-1 1H1c-.55 0-1-.45-1-1V4c0-.55.45-1 1-1 0-.55.45-1 1-1h4c.55 0 1 .45 1 1Zm-4.5 9c1.94 0 3.5-1.56 3.5-3.5S12.44 5 10.5 5 7 6.56 7 8.5 8.56 12 10.5 12ZM13 8.5c0 1.38-1.13 2.5-2.5 2.5S8 9.87 8 8.5 9.13 6 10.5 6 13 7.13 13 8.5ZM6 5V4H2v1Z\"/></symbol><use xlink:href=\"#device-camera-icon-symbol\" />"},{"n":"learn","l":"Learn","c":false,"i":[{"n":"360","l":"360° Video","s":"<path d=\"M15.5 12a3.5 3.5 0 1 1-7 0 3.5 3.5 0 0 1 7 0Z\"/><path d=\"M12 3.5c3.432 0 6.124 1.534 8.054 3.241 1.926 1.703 3.132 3.61 3.616 4.46a1.6 1.6 0 0 1 0 1.598c-.484.85-1.69 2.757-3.616 4.461-1.929 1.706-4.622 3.24-8.054 3.24-3.432 0-6.124-1.534-8.054-3.24C2.02 15.558.814 13.65.33 12.8a1.6 1.6 0 0 1 0-1.598c.484-.85 1.69-2.757 3.616-4.462C5.875 5.034 8.568 3.5 12 3.5ZM1.633 11.945a.115.115 0 0 0-.017.055c.001.02.006.039.017.056.441.774 1.551 2.527 3.307 4.08C6.691 17.685 9.045 19 12 19c2.955 0 5.31-1.315 7.06-2.864 1.756-1.553 2.866-3.306 3.307-4.08a.111.111 0 0 0 .017-.056.111.111 0 0 0-.017-.056c-.441-.773-1.551-2.527-3.307-4.08C17.309 6.315 14.955 5 12 5 9.045 5 6.69 6.314 4.94 7.865c-1.756 1.552-2.866 3.306-3.307 4.08Z\"/>"},{"n":"articles","l":"Articles","s":"<path d=\"M17.263 2.177a1.75 1.75 0 0 1 2.474 0l2.586 2.586a1.75 1.75 0 0 1 0 2.474L19.53 10.03l-.012.013L8.69 20.378a1.753 1.753 0 0 1-.699.409l-5.523 1.68a.748.748 0 0 1-.747-.188.748.748 0 0 1-.188-.747l1.673-5.5a1.75 1.75 0 0 1 .466-.756L14.476 4.963ZM4.708 16.361a.26.26 0 0 0-.067.108l-1.264 4.154 4.177-1.271a.253.253 0 0 0 .1-.059l10.273-9.806-2.94-2.939-10.279 9.813ZM19 8.44l2.263-2.262a.25.25 0 0 0 0-.354l-2.586-2.586a.25.25 0 0 0-.354 0L16.061 5.5Z\"/>"},{"n":"educational","l":"Educational","s":"<path d=\"M13.003 7.754a.75.75 0 0 1 .75-.75h5.232a.75.75 0 0 1 .53 1.28l-2.776 2.777c.55.097 1.057.253 1.492.483.905.477 1.504 1.284 1.504 2.418 0 .966-.471 1.75-1.172 2.27-.687.511-1.587.77-2.521.77-1.367 0-2.274-.528-2.667-.756a.75.75 0 0 1 .755-1.297c.331.193.953.553 1.912.553.673 0 1.243-.188 1.627-.473.37-.275.566-.635.566-1.067 0-.5-.219-.836-.703-1.091-.538-.284-1.375-.443-2.471-.443a.75.75 0 0 1-.53-1.28l2.643-2.644h-3.421a.75.75 0 0 1-.75-.75ZM7.88 15.215a1.4 1.4 0 0 0-1.446.83.75.75 0 0 1-1.37-.61 2.899 2.899 0 0 1 2.986-1.71c.589.06 1.139.323 1.557.743.434.446.685 1.058.685 1.778 0 1.641-1.254 2.437-2.12 2.986-.538.341-1.18.694-1.495 1.273H9.75a.75.75 0 0 1 0 1.5h-4a.75.75 0 0 1-.75-.75c0-1.799 1.337-2.63 2.243-3.21 1.032-.659 1.55-1.031 1.55-1.8 0-.355-.116-.584-.26-.732a1.071 1.071 0 0 0-.652-.298Zm.234-13.121a.75.75 0 0 1 .386.656V9h1.252a.75.75 0 0 1 0 1.5H5.75a.75.75 0 0 1 0-1.5H7V4.103l-.853.533a.749.749 0 1 1-.795-1.272l2-1.25a.749.749 0 0 1 .762-.02Z\"/>"},{"n":"history","l":"History of Final Cut Pro","s":"<path d=\"M11.998 2.5A9.503 9.503 0 0 0 3.378 8H5.75a.75.75 0 0 1 0 1.5H2a1 1 0 0 1-1-1V4.75a.75.75 0 0 1 1.5 0v1.697A10.997 10.997 0 0 1 11.998 1C18.074 1 23 5.925 23 12s-4.926 11-11.002 11C6.014 23 1.146 18.223 1 12.275a.75.75 0 0 1 1.5-.037 9.5 9.5 0 0 0 9.498 9.262c5.248 0 9.502-4.253 9.502-9.5s-4.254-9.5-9.502-9.5Z\"/><path d=\"M12.5 7.25a.75.75 0 0 0-1.5 0v5.5c0 .27.144.518.378.651l3.5 2a.75.75 0 0 0 .744-1.302L12.5 12.315V7.25Z\"/>"},{"n":"training","l":"Training","s":"<path d=\"M12.292 2.06v-.001l11.25 4.75a.749.749 0 0 1 0 1.382L19 10.108V15a.75.75 0 0 1-.11.391h-.001a2.84 2.84 0 0 1-.392.482c-.249.256-.625.58-1.163.896-1.08.638-2.776 1.23-5.334 1.23-.673 0-1.286-.041-1.846-.113a.75.75 0 0 1 .192-1.487c.492.063 1.042.1 1.654.1 2.317 0 3.746-.533 4.572-1.021.31-.178.596-.397.849-.65l.079-.085V10.74l-5.208 2.2a.75.75 0 0 1-.584 0L5.75 10.424v3.17c.502.129.96.391 1.327.758.579.578.923 1.41.923 2.428v4.5a.761.761 0 0 1-.345.634 2.157 2.157 0 0 1-.21.117 3.923 3.923 0 0 1-.52.213A6.121 6.121 0 0 1 5 22.532a6.092 6.092 0 0 1-1.925-.288 4.065 4.065 0 0 1-.52-.213 1.816 1.816 0 0 1-.22-.124.757.757 0 0 1-.335-.624v-4.5c0-1.02.344-1.85.923-2.43a2.904 2.904 0 0 1 1.327-.757V9.793L.458 8.19a.75.75 0 0 1 0-1.38l11.25-4.75a.75.75 0 0 1 .584 0ZM12 11.436 21.322 7.5 12 3.564 2.678 7.5ZM5 15c-.377 0-.745.141-1.017.413-.265.265-.483.7-.483 1.368v4.022c.299.105.797.228 1.5.228s1.201-.123 1.5-.228V16.78c0-.669-.218-1.103-.483-1.368A1.433 1.433 0 0 0 5 15Z\"/>"},{"n":"workflow","l":"Workflow","s":"<path d=\"M7.875 2.292a.114.114 0 0 0-.032.018A7.239 7.239 0 0 0 4.75 8.25a7.248 7.248 0 0 0 3.654 6.297c.57.327.982.955.941 1.682v.002l-.317 6.058a.75.75 0 1 1-1.498-.078l.317-6.062v-.004c.006-.09-.047-.215-.188-.296A8.749 8.749 0 0 1 3.25 8.25a8.738 8.738 0 0 1 3.732-7.169 1.547 1.547 0 0 1 1.709-.064c.484.292.809.835.809 1.46v4.714a.25.25 0 0 0 .119.213l2.25 1.385c.08.05.182.05.262 0l2.25-1.385a.25.25 0 0 0 .119-.213V2.478c0-.626.325-1.169.81-1.461a1.547 1.547 0 0 1 1.708.064 8.741 8.741 0 0 1 3.732 7.17 8.747 8.747 0 0 1-4.41 7.598c-.14.081-.193.206-.188.296v.004l.318 6.062a.75.75 0 1 1-1.498.078l-.317-6.058v-.002c-.041-.727.37-1.355.94-1.682A7.247 7.247 0 0 0 19.25 8.25a7.239 7.239 0 0 0-3.093-5.94.114.114 0 0 0-.032-.018l-.01-.001c-.003 0-.014 0-.031.01-.036.022-.084.079-.084.177V7.19c0 .608-.315 1.172-.833 1.49l-2.25 1.385a1.75 1.75 0 0 1-1.834 0l-2.25-1.384A1.752 1.752 0 0 1 8 7.192V2.477c0-.098-.048-.155-.084-.176a.068.068 0 0 0-.031-.011l-.01.001Z\"/>"}],"s":"<path d=\"M12.292 2.06v-.001l11.25 4.75a.749.749 0 0 1 0 1.382L19 10.108V15a.75.75 0 0 1-.11.391h-.001a2.84 2.84 0 0 1-.392.482c-.249.256-.625.58-1.163.896-1.08.638-2.776 1.23-5.334 1.23-.673 0-1.286-.041-1.846-.113a.75.75 0 0 1 .192-1.487c.492.063 1.042.1 1.654.1 2.317 0 3.746-.533 4.572-1.021.31-.178.596-.397.849-.65l.079-.085V10.74l-5.208 2.2a.75.75 0 0 1-.584 0L5.75 10.424v3.17c.502.129.96.391 1.327.758.579.578.923 1.41.923 2.428v4.5a.761.761 0 0 1-.345.634 2.157 2.157 0 0 1-.21.117 3.923 3.923 0 0 1-.52.213A6.121 6.121 0 0 1 5 22.532a6.092 6.092 0 0 1-1.925-.288 4.065 4.065 0 0 1-.52-.213 1.816 1.816 0 0 1-.22-.124.757.757 0 0 1-.335-.624v-4.5c0-1.02.344-1.85.923-2.43a2.904 2.904 0 0 1 1.327-.757V9.793L.458 8.19a.75.75 0 0 1 0-1.38l11.25-4.75a.75.75 0 0 1 .584 0ZM12 11.436 21.322 7.5 12 3.564 2.678 7.5ZM5 15c-.377 0-.745.141-1.017.413-.265.265-.483.7-.483 1.368v4.022c.299.105.797.228 1.5.228s1.201-.123 1.5-.228V16.78c0-.669-.218-1.103-.483-1.368A1.433 1.433 0 0 0 5 15Z\"/>"},{"n":"case-studies","l":"Case Studies","c":false,"i":[{"n":"schock","l":"SCHOCK","s":"<path d=\"M3.5 8a5.5 5.5 0 1 1 8.596 4.547 9.005 9.005 0 0 1 5.9 8.18.751.751 0 0 1-1.5.045 7.5 7.5 0 0 0-14.993 0 .75.75 0 0 1-1.499-.044 9.005 9.005 0 0 1 5.9-8.181A5.496 5.496 0 0 1 3.5 8ZM9 4a4 4 0 1 0 0 8 4 4 0 0 0 0-8Zm8.29 4c-.148 0-.292.01-.434.03a.75.75 0 1 1-.212-1.484 4.53 4.53 0 0 1 3.38 8.097 6.69 6.69 0 0 1 3.956 6.107.75.75 0 0 1-1.5 0 5.193 5.193 0 0 0-3.696-4.972l-.534-.16v-1.676l.41-.209A3.03 3.03 0 0 0 17.29 8Z\"/>"},{"n":"the-future-of-everything","l":"The Future of Everything","s":"<path d=\"M3.5 8a5.5 5.5 0 1 1 8.596 4.547 9.005 9.005 0 0 1 5.9 8.18.751.751 0 0 1-1.5.045 7.5 7.5 0 0 0-14.993 0 .75.75 0 0 1-1.499-.044 9.005 9.005 0 0 1 5.9-8.181A5.496 5.496 0 0 1 3.5 8ZM9 4a4 4 0 1 0 0 8 4 4 0 0 0 0-8Zm8.29 4c-.148 0-.292.01-.434.03a.75.75 0 1 1-.212-1.484 4.53 4.53 0 0 1 3.38 8.097 6.69 6.69 0 0 1 3.956 6.107.75.75 0 0 1-1.5 0 5.193 5.193 0 0 0-3.696-4.972l-.534-.16v-1.676l.41-.209A3.03 3.03 0 0 0 17.29 8Z\"/>"},{"n":"the-shadow","l":"Der Schatten (The Shadow)","s":"<path d=\"M3.5 8a5.5 5.5 0 1 1 8.596 4.547 9.005 9.005 0 0 1 5.9 8.18.751.751 0 0 1-1.5.045 7.5 7.5 0 0 0-14.993 0 .75.75 0 0 1-1.499-.044 9.005 9.005 0 0 1 5.9-8.181A5.496 5.496 0 0 1 3.5 8ZM9 4a4 4 0 1 0 0 8 4 4 0 0 0 0-8Zm8.29 4c-.148 0-.292.01-.434.03a.75.75 0 1 1-.212-1.484 4.53 4.53 0 0 1 3.38 8.097 6.69 6.69 0 0 1 3.956 6.107.75.75 0 0 1-1.5 0 5.193 5.193 0 0 0-3.696-4.972l-.534-.16v-1.676l.41-.209A3.03 3.03 0 0 0 17.29 8Z\"/>"},{"n":"indias-space-odyssey","l":"India’s Space Odyssey","s":"<path d=\"M3.5 8a5.5 5.5 0 1 1 8.596 4.547 9.005 9.005 0 0 1 5.9 8.18.751.751 0 0 1-1.5.045 7.5 7.5 0 0 0-14.993 0 .75.75 0 0 1-1.499-.044 9.005 9.005 0 0 1 5.9-8.181A5.496 5.496 0 0 1 3.5 8ZM9 4a4 4 0 1 0 0 8 4 4 0 0 0 0-8Zm8.29 4c-.148 0-.292.01-.434.03a.75.75 0 1 1-.212-1.484 4.53 4.53 0 0 1 3.38 8.097 6.69 6.69 0 0 1 3.956 6.107.75.75 0 0 1-1.5 0 5.193 5.193 0 0 0-3.696-4.972l-.534-.16v-1.676l.41-.209A3.03 3.03 0 0 0 17.29 8Z\"/>"},{"n":"blood-and-gold","l":"Blood & Gold","s":"<path d=\"M3.5 8a5.5 5.5 0 1 1 8.596 4.547 9.005 9.005 0 0 1 5.9 8.18.751.751 0 0 1-1.5.045 7.5 7.5 0 0 0-14.993 0 .75.75 0 0 1-1.499-.044 9.005 9.005 0 0 1 5.9-8.181A5.496 5.496 0 0 1 3.5 8ZM9 4a4 4 0 1 0 0 8 4 4 0 0 0 0-8Zm8.29 4c-.148 0-.292.01-.434.03a.75.75 0 1 1-.212-1.484 4.53 4.53 0 0 1 3.38 8.097 6.69 6.69 0 0 1 3.956 6.107.75.75 0 0 1-1.5 0 5.193 5.193 0 0 0-3.696-4.972l-.534-.16v-1.676l.41-.209A3.03 3.03 0 0 0 17.29 8Z\"/>"},{"n":"turn-of-the-tide","l":"Turn of the Tide","s":"<path d=\"M3.5 8a5.5 5.5 0 1 1 8.596 4.547 9.005 9.005 0 0 1 5.9 8.18.751.751 0 0 1-1.5.045 7.5 7.5 0 0 0-14.993 0 .75.75 0 0 1-1.499-.044 9.005 9.005 0 0 1 5.9-8.181A5.496 5.496 0 0 1 3.5 8ZM9 4a4 4 0 1 0 0 8 4 4 0 0 0 0-8Zm8.29 4c-.148 0-.292.01-.434.03a.75.75 0 1 1-.212-1.484 4.53 4.53 0 0 1 3.38 8.097 6.69 6.69 0 0 1 3.956 6.107.75.75 0 0 1-1.5 0 5.193 5.193 0 0 0-3.696-4.972l-.534-.16v-1.676l.41-.209A3.03 3.03 0 0 0 17.29 8Z\"/>"},{"n":"external-case-studies","l":"External Case Studies","s":"<path d=\"M15.5 2.25a.75.75 0 0 1 .75-.75h5.5a.75.75 0 0 1 .75.75v5.5a.75.75 0 0 1-1.5 0V4.06l-6.22 6.22a.75.75 0 1 1-1.06-1.06L19.94 3h-3.69a.75.75 0 0 1-.75-.75Z\"/><path d=\"M2.5 4.25c0-.966.784-1.75 1.75-1.75h8.5a.75.75 0 0 1 0 1.5h-8.5a.25.25 0 0 0-.25.25v15.5c0 .138.112.25.25.25h15.5a.25.25 0 0 0 .25-.25v-8.5a.75.75 0 0 1 1.5 0v8.5a1.75 1.75 0 0 1-1.75 1.75H4.25a1.75 1.75 0 0 1-1.75-1.75V4.25Z\"/>"}],"s":"<path d=\"M3.5 8a5.5 5.5 0 1 1 8.596 4.547 9.005 9.005 0 0 1 5.9 8.18.751.751 0 0 1-1.5.045 7.5 7.5 0 0 0-14.993 0 .75.75 0 0 1-1.499-.044 9.005 9.005 0 0 1 5.9-8.181A5.496 5.496 0 0 1 3.5 8ZM9 4a4 4 0 1 0 0 8 4 4 0 0 0 0-8Zm8.29 4c-.148 0-.292.01-.434.03a.75.75 0 1 1-.212-1.484 4.53 4.53 0 0 1 3.38 8.097 6.69 6.69 0 0 1 3.956 6.107.75.75 0 0 1-1.5 0 5.193 5.193 0 0 0-3.696-4.972l-.534-.16v-1.676l.41-.209A3.03 3.03 0 0 0 17.29 8Z\"/>"},{"n":"developer-case-studies","l":"Developer Case Studies","c":false,"i":[{"n":"transcriber","l":"Transcriber","s":"<path d=\"M8 8.807V3.5h-.563a.75.75 0 0 1 0-1.5h9.125a.75.75 0 0 1 0 1.5H16v5.307l5.125 9.301c.964 1.75-.302 3.892-2.299 3.892H5.174c-1.998 0-3.263-2.142-2.3-3.892ZM4.189 18.832a1.123 1.123 0 0 0 .985 1.668h13.652a1.123 1.123 0 0 0 .985-1.668L17.7 15H6.3ZM14.5 3.5h-5V9a.75.75 0 0 1-.093.362L7.127 13.5h9.746l-2.28-4.138A.75.75 0 0 1 14.5 9Z\"/>"}],"s":"<path d=\"M8 8.807V3.5h-.563a.75.75 0 0 1 0-1.5h9.125a.75.75 0 0 1 0 1.5H16v5.307l5.125 9.301c.964 1.75-.302 3.892-2.299 3.892H5.174c-1.998 0-3.263-2.142-2.3-3.892ZM4.189 18.832a1.123 1.123 0 0 0 .985 1.668h13.652a1.123 1.123 0 0 0 .985-1.668L17.7 15H6.3ZM14.5 3.5h-5V9a.75.75 0 0 1-.093.362L7.127 13.5h9.746l-2.28-4.138A.75.75 0 0 1 14.5 9Z\"/>"},{"n":"ecosystem","l":"Ecosystem","c":false,"i":[{"n":"assetmanagement","l":"Asset Management","s":"<path d=\"M4.75 3h14.5c.966 0 1.75.784 1.75 1.75v14.5A1.75 1.75 0 0 1 19.25 21H4.75A1.75 1.75 0 0 1 3 19.25V4.75C3 3.784 3.784 3 4.75 3Zm14.5 1.5H4.75a.25.25 0 0 0-.25.25v14.5c0 .138.112.25.25.25h.19l9.823-9.823a1.75 1.75 0 0 1 2.475 0l2.262 2.262V4.75a.25.25 0 0 0-.25-.25Zm.25 9.56-3.323-3.323a.25.25 0 0 0-.354 0L7.061 19.5H19.25a.25.25 0 0 0 .25-.25ZM8.5 11a2.5 2.5 0 1 1 0-5 2.5 2.5 0 0 1 0 5Zm0-1.5a1 1 0 1 0 0-2 1 1 0 0 0 0 2Z\"/>"},{"n":"motiontemplates","l":"Motion Templates","s":"<path d=\"M14.265 1.627c0 3.545 1.869 5.327 3.479 7.021 1.54 1.62 3.006 3.163 3.006 6.102 0 4.812-3.753 8.25-8.565 8.25-4.813 0-8.935-3.421-8.935-8.25 0-2.039.962-4.011 2.509-4.899.305-.175.672.007.803.334C7.563 12.684 8.797 12.64 9.437 12c.388-.387.47-1.116-.004-2.062-2.405-4.812 1.863-8.279 4.2-8.854.336-.082.615.198.632.543ZM12.185 21.5c4.059 0 7.065-2.84 7.065-6.75 0-2.337-1.093-3.489-2.678-5.158l-.021-.023c-1.44-1.517-3.139-3.351-3.649-6.557a6.148 6.148 0 0 0-1.911 1.76c-.787 1.144-1.147 2.633-.216 4.495.603 1.205.777 2.74-.277 3.794-.657.657-1.762 1.1-2.956.586-.752-.324-1.353-.955-1.838-1.79-.567.706-.954 1.74-.954 2.893 0 3.847 3.288 6.75 7.435 6.75Z\"/>"},{"n":"plugins","l":"Plugins","s":"<path d=\"M20.322.75h1.176a1.75 1.75 0 0 1 1.75 1.749v1.177a10.75 10.75 0 0 1-2.925 7.374l-1.228 1.304a23.699 23.699 0 0 1-1.596 1.542v5.038c0 .615-.323 1.184-.85 1.5l-4.514 2.709a.75.75 0 0 1-1.12-.488l-.963-4.572a1.305 1.305 0 0 1-.14-.129L8.04 15.96l-1.994-1.873a1.305 1.305 0 0 1-.129-.14l-4.571-.963a.75.75 0 0 1-.49-1.12l2.71-4.514c.316-.527.885-.85 1.5-.85h5.037a23.668 23.668 0 0 1 1.542-1.594l1.304-1.23A10.753 10.753 0 0 1 20.321.75Zm-6.344 4.018v-.001l-1.304 1.23a22.275 22.275 0 0 0-3.255 3.851l-2.193 3.29 1.859 1.744a.545.545 0 0 1 .034.034l1.743 1.858 3.288-2.192a22.263 22.263 0 0 0 3.854-3.257l1.228-1.303a9.251 9.251 0 0 0 2.517-6.346V2.5a.25.25 0 0 0-.25-.25h-1.177a9.252 9.252 0 0 0-6.344 2.518ZM6.5 21c-1.209 1.209-3.901 1.445-4.743 1.49a.236.236 0 0 1-.18-.067.236.236 0 0 1-.067-.18c.045-.842.281-3.534 1.49-4.743.9-.9 2.6-.9 3.5 0 .9.9.9 2.6 0 3.5Zm-.592-8.588L8.17 9.017c.23-.346.47-.685.717-1.017H5.066a.25.25 0 0 0-.214.121l-2.167 3.612ZM16 15.112c-.333.248-.672.487-1.018.718l-3.393 2.262.678 3.223 3.612-2.167a.25.25 0 0 0 .121-.214ZM17.5 8a1.5 1.5 0 1 1-3.001-.001A1.5 1.5 0 0 1 17.5 8Z\"/>"},{"n":"tools","l":"Tools","s":"<path d=\"M7.875 2.292a.114.114 0 0 0-.032.018A7.239 7.239 0 0 0 4.75 8.25a7.248 7.248 0 0 0 3.654 6.297c.57.327.982.955.941 1.682v.002l-.317 6.058a.75.75 0 1 1-1.498-.078l.317-6.062v-.004c.006-.09-.047-.215-.188-.296A8.749 8.749 0 0 1 3.25 8.25a8.738 8.738 0 0 1 3.732-7.169 1.547 1.547 0 0 1 1.709-.064c.484.292.809.835.809 1.46v4.714a.25.25 0 0 0 .119.213l2.25 1.385c.08.05.182.05.262 0l2.25-1.385a.25.25 0 0 0 .119-.213V2.478c0-.626.325-1.169.81-1.461a1.547 1.547 0 0 1 1.708.064 8.741 8.741 0 0 1 3.732 7.17 8.747 8.747 0 0 1-4.41 7.598c-.14.081-.193.206-.188.296v.004l.318 6.062a.75.75 0 1 1-1.498.078l-.317-6.058v-.002c-.041-.727.37-1.355.94-1.682A7.247 7.247 0 0 0 19.25 8.25a7.239 7.239 0 0 0-3.093-5.94.114.114 0 0 0-.032-.018l-.01-.001c-.003 0-.014 0-.031.01-.036.022-.084.079-.084.177V7.19c0 .608-.315 1.172-.833 1.49l-2.25 1.385a1.75 1.75 0 0 1-1.834 0l-2.25-1.384A1.752 1.752 0 0 1 8 7.192V2.477c0-.098-.048-.155-.084-.176a.068.068 0 0 0-.031-.011l-.01.001Z\"/>"},{"n":"workflowextensions","l":"Workflow Extensions","s":"<path d=\"M16 12a4 4 0 1 1-8 0 4 4 0 0 1 8 0Zm-1.5 0a2.5 2.5 0 1 0-5 0 2.5 2.5 0 0 0 5 0Z\"/><path d=\"M12 1c.266 0 .532.009.797.028.763.055 1.345.617 1.512 1.304l.352 1.45c.019.078.09.171.225.221.247.089.49.19.728.302.13.061.246.044.315.002l1.275-.776c.603-.368 1.411-.353 1.99.147.402.349.78.726 1.128 1.129.501.578.515 1.386.147 1.99l-.776 1.274c-.042.069-.058.185.002.315.112.238.213.481.303.728.048.135.142.205.22.225l1.45.352c.687.167 1.249.749 1.303 1.512.038.531.038 1.063 0 1.594-.054.763-.616 1.345-1.303 1.512l-1.45.352c-.078.019-.171.09-.221.225-.089.248-.19.491-.302.728-.061.13-.044.246-.002.315l.776 1.275c.368.603.353 1.411-.147 1.99-.349.402-.726.78-1.129 1.128-.578.501-1.386.515-1.99.147l-1.274-.776c-.069-.042-.185-.058-.314.002a8.606 8.606 0 0 1-.729.303c-.135.048-.205.142-.225.22l-.352 1.45c-.167.687-.749 1.249-1.512 1.303-.531.038-1.063.038-1.594 0-.763-.054-1.345-.616-1.512-1.303l-.352-1.45c-.019-.078-.09-.171-.225-.221a8.138 8.138 0 0 1-.728-.302c-.13-.061-.246-.044-.315-.002l-1.275.776c-.603.368-1.411.353-1.99-.147-.402-.349-.78-.726-1.128-1.129-.501-.578-.515-1.386-.147-1.99l.776-1.274c.042-.069.058-.185-.002-.314a8.606 8.606 0 0 1-.303-.729c-.048-.135-.142-.205-.22-.225l-1.45-.352c-.687-.167-1.249-.749-1.304-1.512a11.158 11.158 0 0 1 0-1.594c.055-.763.617-1.345 1.304-1.512l1.45-.352c.078-.019.171-.09.221-.225.089-.248.19-.491.302-.728.061-.13.044-.246.002-.315l-.776-1.275c-.368-.603-.353-1.411.147-1.99.349-.402.726-.78 1.129-1.128.578-.501 1.386-.515 1.99-.147l1.274.776c.069.042.185.058.315-.002.238-.112.481-.213.728-.303.135-.048.205-.142.225-.22l.352-1.45c.167-.687.749-1.249 1.512-1.304C11.466 1.01 11.732 1 12 1Zm-.69 1.525c-.055.004-.135.05-.161.161l-.353 1.45a1.832 1.832 0 0 1-1.172 1.277 7.147 7.147 0 0 0-.6.249 1.833 1.833 0 0 1-1.734-.074l-1.274-.776c-.098-.06-.186-.036-.228 0a9.774 9.774 0 0 0-.976.976c-.036.042-.06.131 0 .228l.776 1.274c.314.529.342 1.18.074 1.734a7.147 7.147 0 0 0-.249.6 1.831 1.831 0 0 1-1.278 1.173l-1.45.351c-.11.027-.156.107-.16.162a9.63 9.63 0 0 0 0 1.38c.004.055.05.135.161.161l1.45.353a1.832 1.832 0 0 1 1.277 1.172c.074.204.157.404.249.6.268.553.24 1.204-.074 1.733l-.776 1.275c-.06.098-.036.186 0 .228.301.348.628.675.976.976.042.036.131.06.228 0l1.274-.776a1.83 1.83 0 0 1 1.734-.075c.196.093.396.176.6.25a1.831 1.831 0 0 1 1.173 1.278l.351 1.45c.027.11.107.156.162.16a9.63 9.63 0 0 0 1.38 0c.055-.004.135-.05.161-.161l.353-1.45a1.834 1.834 0 0 1 1.172-1.278 6.82 6.82 0 0 0 .6-.248 1.831 1.831 0 0 1 1.733.074l1.275.776c.098.06.186.036.228 0 .348-.301.675-.628.976-.976.036-.042.06-.131 0-.228l-.776-1.275a1.834 1.834 0 0 1-.075-1.733c.093-.196.176-.396.25-.6a1.831 1.831 0 0 1 1.278-1.173l1.45-.351c.11-.027.156-.107.16-.162a9.63 9.63 0 0 0 0-1.38c-.004-.055-.05-.135-.161-.161l-1.45-.353c-.626-.152-1.08-.625-1.278-1.172a6.576 6.576 0 0 0-.248-.6 1.833 1.833 0 0 1 .074-1.734l.776-1.274c.06-.098.036-.186 0-.228a9.774 9.774 0 0 0-.976-.976c-.042-.036-.131-.06-.228 0l-1.275.776a1.831 1.831 0 0 1-1.733.074 6.88 6.88 0 0 0-.6-.249 1.835 1.835 0 0 1-1.173-1.278l-.351-1.45c-.027-.11-.107-.156-.162-.16a9.63 9.63 0 0 0-1.38 0Z\"/>"}],"s":"<path d=\"M7 11.5H2.938c-.794 0-1.438.644-1.438 1.437v8.313a.75.75 0 0 1-1.5 0v-8.312A2.939 2.939 0 0 1 2.937 10H7V6.151c0-.897.678-1.648 1.57-1.74l6.055-.626 1.006-1.174A1.752 1.752 0 0 1 16.96 2h1.29c.966 0 1.75.784 1.75 1.75V6h3.25a.75.75 0 0 1 0 1.5H20V14h3.25a.75.75 0 0 1 0 1.5H20v2.25a1.75 1.75 0 0 1-1.75 1.75h-1.29a1.75 1.75 0 0 1-1.329-.611l-1.006-1.174-6.055-.627A1.749 1.749 0 0 1 7 15.348Zm9.77-7.913v.001l-1.201 1.4a.75.75 0 0 1-.492.258l-6.353.657a.25.25 0 0 0-.224.249v9.196a.25.25 0 0 0 .224.249l6.353.657c.191.02.368.112.493.258l1.2 1.401a.252.252 0 0 0 .19.087h1.29a.25.25 0 0 0 .25-.25v-14a.25.25 0 0 0-.25-.25h-1.29a.252.252 0 0 0-.19.087Z\"/>"},{"n":"community","l":"Community","c":false,"i":[{"n":"podcasts","l":"Podcasts","s":"<path d=\"M20.485 2.515a.75.75 0 0 0-1.06 1.06A10.465 10.465 0 0 1 22.5 11c0 2.9-1.174 5.523-3.075 7.424a.75.75 0 0 0 1.06 1.061A11.965 11.965 0 0 0 24 11c0-3.314-1.344-6.315-3.515-8.485Zm-15.91 1.06a.75.75 0 0 0-1.06-1.06A11.965 11.965 0 0 0 0 11c0 3.313 1.344 6.314 3.515 8.485a.75.75 0 0 0 1.06-1.06A10.465 10.465 0 0 1 1.5 11c0-2.9 1.174-5.524 3.075-7.425ZM8.11 7.11a.75.75 0 0 0-1.06-1.06A6.98 6.98 0 0 0 5 11a6.98 6.98 0 0 0 2.05 4.95.75.75 0 0 0 1.06-1.061 5.48 5.48 0 0 1-1.61-3.89 5.48 5.48 0 0 1 1.61-3.888Zm8.84-1.06a.75.75 0 1 0-1.06 1.06A5.48 5.48 0 0 1 17.5 11a5.48 5.48 0 0 1-1.61 3.889.75.75 0 1 0 1.06 1.06A6.98 6.98 0 0 0 19 11a6.98 6.98 0 0 0-2.05-4.949ZM14 11a2 2 0 0 1-1.25 1.855v8.395a.75.75 0 0 1-1.5 0v-8.395A2 2 0 1 1 14 11Z\"/>"},{"n":"socialmedia","l":"Social Media","s":"<path d=\"M3.5 8a5.5 5.5 0 1 1 8.596 4.547 9.005 9.005 0 0 1 5.9 8.18.751.751 0 0 1-1.5.045 7.5 7.5 0 0 0-14.993 0 .75.75 0 0 1-1.499-.044 9.005 9.005 0 0 1 5.9-8.181A5.496 5.496 0 0 1 3.5 8ZM9 4a4 4 0 1 0 0 8 4 4 0 0 0 0-8Zm8.29 4c-.148 0-.292.01-.434.03a.75.75 0 1 1-.212-1.484 4.53 4.53 0 0 1 3.38 8.097 6.69 6.69 0 0 1 3.956 6.107.75.75 0 0 1-1.5 0 5.193 5.193 0 0 0-3.696-4.972l-.534-.16v-1.676l.41-.209A3.03 3.03 0 0 0 17.29 8Z\"/>"}],"s":"<path d=\"M1.75 1h12.5c.966 0 1.75.784 1.75 1.75v9.5A1.75 1.75 0 0 1 14.25 14H8.061l-2.574 2.573A1.458 1.458 0 0 1 3 15.543V14H1.75A1.75 1.75 0 0 1 0 12.25v-9.5C0 1.784.784 1 1.75 1ZM1.5 2.75v9.5c0 .138.112.25.25.25h2a.75.75 0 0 1 .75.75v2.19l2.72-2.72a.749.749 0 0 1 .53-.22h6.5a.25.25 0 0 0 .25-.25v-9.5a.25.25 0 0 0-.25-.25H1.75a.25.25 0 0 0-.25.25Z\"/><path d=\"M22.5 8.75a.25.25 0 0 0-.25-.25h-3.5a.75.75 0 0 1 0-1.5h3.5c.966 0 1.75.784 1.75 1.75v9.5A1.75 1.75 0 0 1 22.25 20H21v1.543a1.457 1.457 0 0 1-2.487 1.03L15.939 20H10.75A1.75 1.75 0 0 1 9 18.25v-1.465a.75.75 0 0 1 1.5 0v1.465c0 .138.112.25.25.25h5.5a.75.75 0 0 1 .53.22l2.72 2.72v-2.19a.75.75 0 0 1 .75-.75h2a.25.25 0 0 0 .25-.25v-9.5Z\"/>"},{"n":"hardware","l":"Hardware","c":false,"i":[{"n":"controlsurfaces","l":"Control Surfaces","s":"<path d=\"M7 11.5H2.938c-.794 0-1.438.644-1.438 1.437v8.313a.75.75 0 0 1-1.5 0v-8.312A2.939 2.939 0 0 1 2.937 10H7V6.151c0-.897.678-1.648 1.57-1.74l6.055-.626 1.006-1.174A1.752 1.752 0 0 1 16.96 2h1.29c.966 0 1.75.784 1.75 1.75V6h3.25a.75.75 0 0 1 0 1.5H20V14h3.25a.75.75 0 0 1 0 1.5H20v2.25a1.75 1.75 0 0 1-1.75 1.75h-1.29a1.75 1.75 0 0 1-1.329-.611l-1.006-1.174-6.055-.627A1.749 1.749 0 0 1 7 15.348Zm9.77-7.913v.001l-1.201 1.4a.75.75 0 0 1-.492.258l-6.353.657a.25.25 0 0 0-.224.249v9.196a.25.25 0 0 0 .224.249l6.353.657c.191.02.368.112.493.258l1.2 1.401a.252.252 0 0 0 .19.087h1.29a.25.25 0 0 0 .25-.25v-14a.25.25 0 0 0-.25-.25h-1.29a.252.252 0 0 0-.19.087Z\"/>"},{"n":"monitors","l":"Monitors","s":"<path d=\"M8.954 17H2.75A1.75 1.75 0 0 1 1 15.25V3.75C1 2.784 1.784 2 2.75 2h18.5c.966 0 1.75.784 1.75 1.75v11.5A1.75 1.75 0 0 1 21.25 17h-6.204c.171 1.375.805 2.652 1.769 3.757A.752.752 0 0 1 16.25 22h-8.5a.75.75 0 0 1-.565-1.243c.964-1.105 1.598-2.382 1.769-3.757ZM21.5 3.75a.25.25 0 0 0-.25-.25H2.75a.25.25 0 0 0-.25.25v11.5c0 .138.112.25.25.25h18.5a.25.25 0 0 0 .25-.25ZM13.537 17h-3.074c-.126 1.266-.564 2.445-1.223 3.5h5.52c-.659-1.055-1.098-2.234-1.223-3.5Z\"/>"},{"n":"storage","l":"Storage","s":"<path d=\"M2 4.75C2 3.784 2.784 3 3.75 3h4.971c.58 0 1.12.286 1.447.765l1.404 2.063c.046.069.124.11.207.11h8.471c.966 0 1.75.783 1.75 1.75V19.25A1.75 1.75 0 0 1 20.25 21H3.75A1.75 1.75 0 0 1 2 19.25Zm1.75-.25a.25.25 0 0 0-.25.25v14.5c0 .138.112.25.25.25h16.5a.25.25 0 0 0 .25-.25V7.687a.25.25 0 0 0-.25-.25h-8.471a1.75 1.75 0 0 1-1.447-.765L8.928 4.61a.252.252 0 0 0-.208-.11Z\"/>"}],"s":"<path d=\"M3.5 3.75C3.5 2.784 4.284 2 5.25 2h13.5c.966 0 1.75.784 1.75 1.75v7.5A1.75 1.75 0 0 1 18.75 13H5.25a1.75 1.75 0 0 1-1.75-1.75Zm-2 12c0-.966.784-1.75 1.75-1.75h17.5c.966 0 1.75.784 1.75 1.75v4a1.75 1.75 0 0 1-1.75 1.75H3.25a1.75 1.75 0 0 1-1.75-1.75ZM5.25 3.5a.25.25 0 0 0-.25.25v7.5c0 .138.112.25.25.25h13.5a.25.25 0 0 0 .25-.25v-7.5a.25.25 0 0 0-.25-.25Zm-2 12a.25.25 0 0 0-.25.25v4c0 .138.112.25.25.25h17.5a.25.25 0 0 0 .25-.25v-4a.25.25 0 0 0-.25-.25Z\"/><path d=\"M10 17.75a.75.75 0 0 1 .75-.75h6.5a.75.75 0 0 1 0 1.5h-6.5a.75.75 0 0 1-.75-.75Zm-4 0a.75.75 0 0 1 .75-.75h.5a.75.75 0 0 1 0 1.5h-.5a.75.75 0 0 1-.75-.75Z\"/>"},{"n":"motion","l":"Motion","c":false,"i":[{"n":"variables","l":"Variables","s":"<path d=\"M3 3a2 2 0 0 1 2-2h9.982a2 2 0 0 1 1.414.586l4.018 4.018A2 2 0 0 1 21 7.018V21a2 2 0 0 1-2 2H4.75a.75.75 0 0 1 0-1.5H19a.5.5 0 0 0 .5-.5V8.5h-4a2 2 0 0 1-2-2v-4H5a.5.5 0 0 0-.5.5v6.25a.75.75 0 0 1-1.5 0Zm12-.5v4a.5.5 0 0 0 .5.5h4a.5.5 0 0 0-.146-.336l-4.018-4.018A.5.5 0 0 0 15 2.5Z\"/><path d=\"M0 13.75C0 12.784.784 12 1.75 12h3c.966 0 1.75.784 1.75 1.75v4a1.75 1.75 0 0 1-1.75 1.75h-3A1.75 1.75 0 0 1 0 17.75Zm1.75-.25a.25.25 0 0 0-.25.25v4c0 .138.112.25.25.25h3a.25.25 0 0 0 .25-.25v-4a.25.25 0 0 0-.25-.25ZM9 12a.75.75 0 0 0 0 1.5h1.5V18H9a.75.75 0 0 0 0 1.5h4.5a.75.75 0 0 0 0-1.5H12v-5.25a.75.75 0 0 0-.75-.75H9Z\"/>"}],"s":"<path d=\"M10.25 0h3.5a.75.75 0 0 1 0 1.5h-1v1.278a9.954 9.954 0 0 1 5.636 2.276L19.72 3.72a.751.751 0 0 1 1.042.018.751.751 0 0 1 .018 1.042l-1.315 1.316A9.959 9.959 0 0 1 22 12.75c0 5.523-4.477 10-10 10s-10-4.477-10-10a9.959 9.959 0 0 1 2.535-6.654L3.22 4.78a.751.751 0 0 1 .018-1.042.751.751 0 0 1 1.042-.018l1.335 1.334a9.958 9.958 0 0 1 5.635-2.276V1.5h-1a.75.75 0 0 1 0-1.5ZM12 21.25a8.5 8.5 0 1 0-.001-17.001A8.5 8.5 0 0 0 12 21.25Zm4.03-12.53a.75.75 0 0 1 0 1.06l-2.381 2.382a1.75 1.75 0 1 1-1.06-1.06l2.38-2.382a.75.75 0 0 1 1.061 0Z\"/>"},{"n":"developers","l":"Developers","c":false,"i":[{"n":"applicationbundle","l":"Application Bundle","s":"<path d=\"M8.954 17H2.75A1.75 1.75 0 0 1 1 15.25V3.75C1 2.784 1.784 2 2.75 2h18.5c.966 0 1.75.784 1.75 1.75v11.5A1.75 1.75 0 0 1 21.25 17h-6.204c.171 1.375.805 2.652 1.769 3.757A.752.752 0 0 1 16.25 22h-8.5a.75.75 0 0 1-.565-1.243c.964-1.105 1.598-2.382 1.769-3.757ZM21.5 3.75a.25.25 0 0 0-.25-.25H2.75a.25.25 0 0 0-.25.25v11.5c0 .138.112.25.25.25h18.5a.25.25 0 0 0 .25-.25ZM13.537 17h-3.074c-.126 1.266-.564 2.445-1.223 3.5h5.52c-.659-1.055-1.098-2.234-1.223-3.5Z\"/>"},{"n":"benchmark","l":"Benchmark","s":"<path d=\"M3.38 8A9.502 9.502 0 0 1 12 2.5a9.502 9.502 0 0 1 9.215 7.182.75.75 0 1 0 1.456-.364C21.473 4.539 17.15 1 12 1a10.995 10.995 0 0 0-9.5 5.452V4.75a.75.75 0 0 0-1.5 0V8.5a1 1 0 0 0 1 1h3.75a.75.75 0 0 0 0-1.5H3.38Zm-.595 6.318a.75.75 0 0 0-1.455.364C2.527 19.461 6.85 23 12 23c4.052 0 7.592-2.191 9.5-5.451v1.701a.75.75 0 0 0 1.5 0V15.5a1 1 0 0 0-1-1h-3.75a.75.75 0 0 0 0 1.5h2.37A9.502 9.502 0 0 1 12 21.5c-4.446 0-8.181-3.055-9.215-7.182Z\"/><path d=\"M13.414 13.414a2 2 0 1 1-2.828-2.828 2 2 0 0 1 2.828 2.828Z\"/>"},{"n":"faq","l":"FAQ","s":"<path d=\"M0 3.75A.75.75 0 0 1 .75 3h7.497c1.566 0 2.945.8 3.751 2.014A4.495 4.495 0 0 1 15.75 3h7.5a.75.75 0 0 1 .75.75v15.063a.752.752 0 0 1-.755.75l-7.682-.052a3 3 0 0 0-2.142.878l-.89.891a.75.75 0 0 1-1.061 0l-.902-.901a2.996 2.996 0 0 0-2.121-.879H.75a.75.75 0 0 1-.75-.75Zm12.75 15.232a4.503 4.503 0 0 1 2.823-.971l6.927.047V4.5h-6.75a3 3 0 0 0-3 3ZM11.247 7.497a3 3 0 0 0-3-2.997H1.5V18h6.947c1.018 0 2.006.346 2.803.98Z\"/>"},{"n":"fcpxml","l":"FCPXML","s":"<path d=\"M3 3a2 2 0 0 1 2-2h9.982a2 2 0 0 1 1.414.586l4.018 4.018A2 2 0 0 1 21 7.018V21a2 2 0 0 1-2 2H4.75a.75.75 0 0 1 0-1.5H19a.5.5 0 0 0 .5-.5V8.5h-4a2 2 0 0 1-2-2v-4H5a.5.5 0 0 0-.5.5v6.25a.75.75 0 0 1-1.5 0Zm12-.5v4a.5.5 0 0 0 .5.5h4a.5.5 0 0 0-.146-.336l-4.018-4.018A.5.5 0 0 0 15 2.5Z\"/><path d=\"M4.53 12.24a.75.75 0 0 1-.039 1.06l-2.639 2.45 2.64 2.45a.75.75 0 1 1-1.022 1.1l-3.23-3a.75.75 0 0 1 0-1.1l3.23-3a.75.75 0 0 1 1.06.04Zm3.979 1.06a.75.75 0 1 1 1.02-1.1l3.231 3a.75.75 0 0 1 0 1.1l-3.23 3a.75.75 0 1 1-1.021-1.1l2.639-2.45-2.64-2.45Z\"/>"},{"n":"fxplug","l":"Fx​Plug","s":"<path d=\"M14.265 1.627c0 3.545 1.869 5.327 3.479 7.021 1.54 1.62 3.006 3.163 3.006 6.102 0 4.812-3.753 8.25-8.565 8.25-4.813 0-8.935-3.421-8.935-8.25 0-2.039.962-4.011 2.509-4.899.305-.175.672.007.803.334C7.563 12.684 8.797 12.64 9.437 12c.388-.387.47-1.116-.004-2.062-2.405-4.812 1.863-8.279 4.2-8.854.336-.082.615.198.632.543ZM12.185 21.5c4.059 0 7.065-2.84 7.065-6.75 0-2.337-1.093-3.489-2.678-5.158l-.021-.023c-1.44-1.517-3.139-3.351-3.649-6.557a6.148 6.148 0 0 0-1.911 1.76c-.787 1.144-1.147 2.633-.216 4.495.603 1.205.777 2.74-.277 3.794-.657.657-1.762 1.1-2.956.586-.752-.324-1.353-.955-1.838-1.79-.567.706-.954 1.74-.954 2.893 0 3.847 3.288 6.75 7.435 6.75Z\"/>"},{"n":"ixml","l":"i​XML","s":"<path d=\"M11.553 3.064A.75.75 0 0 1 12 3.75v16.5a.75.75 0 0 1-1.255.555L5.46 16H2.75A1.75 1.75 0 0 1 1 14.25v-4.5C1 8.784 1.784 8 2.75 8h2.71l5.285-4.805a.752.752 0 0 1 .808-.13ZM10.5 5.445l-4.245 3.86a.748.748 0 0 1-.505.195h-3a.25.25 0 0 0-.25.25v4.5c0 .138.112.25.25.25h3c.187 0 .367.069.505.195l4.245 3.86Zm8.218-1.223a.75.75 0 0 1 1.06 0c4.296 4.296 4.296 11.26 0 15.556a.75.75 0 0 1-1.06-1.06 9.5 9.5 0 0 0 0-13.436.75.75 0 0 1 0-1.06Z\"/><path d=\"M16.243 7.757a.75.75 0 1 0-1.061 1.061 4.5 4.5 0 0 1 0 6.364.75.75 0 0 0 1.06 1.06 6 6 0 0 0 0-8.485Z\"/>"},{"n":"librarybundle","l":"Library Bundle","s":"<path d=\"M3 2.75A2.75 2.75 0 0 1 5.75 0h14.5a.75.75 0 0 1 .75.75v20.5a.75.75 0 0 1-.75.75h-6a.75.75 0 0 1 0-1.5h5.25v-4H6A1.5 1.5 0 0 0 4.5 18v.75c0 .716.43 1.334 1.05 1.605a.75.75 0 0 1-.6 1.374A3.251 3.251 0 0 1 3 18.75ZM19.5 1.5H5.75c-.69 0-1.25.56-1.25 1.25v12.651A2.989 2.989 0 0 1 6 15h13.5Z\"/><path d=\"M7 18.25a.25.25 0 0 1 .25-.25h5a.25.25 0 0 1 .25.25v5.01a.25.25 0 0 1-.397.201l-2.206-1.604a.25.25 0 0 0-.294 0L7.397 23.46a.25.25 0 0 1-.397-.2v-5.01Z\"/>"},{"n":"patents","l":"Patents","s":"<path d=\"M12.75 2.75V4.5h1.975c.351 0 .694.106.984.303l1.697 1.154c.041.028.09.043.14.043h4.102a.75.75 0 0 1 0 1.5H20.07l3.366 7.68a.749.749 0 0 1-.23.896c-.1.074-.203.143-.31.206a6.296 6.296 0 0 1-.79.399 7.349 7.349 0 0 1-2.856.569 7.343 7.343 0 0 1-2.855-.568 6.205 6.205 0 0 1-.79-.4 3.205 3.205 0 0 1-.307-.202l-.005-.004a.749.749 0 0 1-.23-.896l3.368-7.68h-.886c-.351 0-.694-.106-.984-.303l-1.697-1.154a.246.246 0 0 0-.14-.043H12.75v14.5h4.487a.75.75 0 0 1 0 1.5H6.763a.75.75 0 0 1 0-1.5h4.487V6H9.275a.249.249 0 0 0-.14.043L7.439 7.197c-.29.197-.633.303-.984.303h-.886l3.368 7.68a.75.75 0 0 1-.209.878c-.08.065-.16.126-.31.223a6.077 6.077 0 0 1-.792.433 6.924 6.924 0 0 1-2.876.62 6.913 6.913 0 0 1-2.876-.62 6.077 6.077 0 0 1-.792-.433 3.483 3.483 0 0 1-.309-.221.762.762 0 0 1-.21-.88L3.93 7.5H2.353a.75.75 0 0 1 0-1.5h4.102c.05 0 .099-.015.141-.043l1.695-1.154c.29-.198.634-.303.985-.303h1.974V2.75a.75.75 0 0 1 1.5 0ZM2.193 15.198a5.414 5.414 0 0 0 2.557.635 5.414 5.414 0 0 0 2.557-.635L4.75 9.368Zm14.51-.024c.082.04.174.083.275.126.53.223 1.305.45 2.272.45a5.847 5.847 0 0 0 2.547-.576L19.25 9.367Z\"/>"},{"n":"toolsandframeworks","l":"Tools & Frameworks","s":"<path d=\"M7.875 2.292a.114.114 0 0 0-.032.018A7.239 7.239 0 0 0 4.75 8.25a7.248 7.248 0 0 0 3.654 6.297c.57.327.982.955.941 1.682v.002l-.317 6.058a.75.75 0 1 1-1.498-.078l.317-6.062v-.004c.006-.09-.047-.215-.188-.296A8.749 8.749 0 0 1 3.25 8.25a8.738 8.738 0 0 1 3.732-7.169 1.547 1.547 0 0 1 1.709-.064c.484.292.809.835.809 1.46v4.714a.25.25 0 0 0 .119.213l2.25 1.385c.08.05.182.05.262 0l2.25-1.385a.25.25 0 0 0 .119-.213V2.478c0-.626.325-1.169.81-1.461a1.547 1.547 0 0 1 1.708.064 8.741 8.741 0 0 1 3.732 7.17 8.747 8.747 0 0 1-4.41 7.598c-.14.081-.193.206-.188.296v.004l.318 6.062a.75.75 0 1 1-1.498.078l-.317-6.058v-.002c-.041-.727.37-1.355.94-1.682A7.247 7.247 0 0 0 19.25 8.25a7.239 7.239 0 0 0-3.093-5.94.114.114 0 0 0-.032-.018l-.01-.001c-.003 0-.014 0-.031.01-.036.022-.084.079-.084.177V7.19c0 .608-.315 1.172-.833 1.49l-2.25 1.385a1.75 1.75 0 0 1-1.834 0l-2.25-1.384A1.752 1.752 0 0 1 8 7.192V2.477c0-.098-.048-.155-.084-.176a.068.068 0 0 0-.031-.011l-.01.001Z\"/>"},{"n":"workflowextensions","l":"Workflow Extensions","s":"<path d=\"M0 3.75C0 2.784.784 2 1.75 2h20.5c.966 0 1.75.784 1.75 1.75v16.5A1.75 1.75 0 0 1 22.25 22H1.75A1.75 1.75 0 0 1 0 20.25ZM22.5 7h-21v13.25c0 .138.112.25.25.25h20.5a.25.25 0 0 0 .25-.25Zm-10-3.5v2h10V3.75a.25.25 0 0 0-.25-.25ZM7 3.5v2h4v-2Zm-5.25 0a.25.25 0 0 0-.25.25V5.5h4v-2Z\"/>"}],"s":"<path d=\"M9.25 12a.75.75 0 0 1-.22.53l-2.75 2.75a.75.75 0 0 1-1.06-1.06L7.44 12 5.22 9.78a.75.75 0 1 1 1.06-1.06l2.75 2.75c.141.14.22.331.22.53Zm2 2a.75.75 0 0 0 0 1.5h5a.75.75 0 0 0 0-1.5h-5Z\"/><path d=\"M0 4.75C0 3.784.784 3 1.75 3h20.5c.966 0 1.75.784 1.75 1.75v14.5A1.75 1.75 0 0 1 22.25 21H1.75A1.75 1.75 0 0 1 0 19.25Zm1.75-.25a.25.25 0 0 0-.25.25v14.5c0 .138.112.25.25.25h20.5a.25.25 0 0 0 .25-.25V4.75a.25.25 0 0 0-.25-.25Z\"/>"},{"n":"credits","l":"Credits","s":"<path d=\"M13 7.5a1 1 0 1 1-2 0 1 1 0 0 1 2 0Zm-3 3.75a.75.75 0 0 1 .75-.75h1.5a.75.75 0 0 1 .75.75v4.25h.75a.75.75 0 0 1 0 1.5h-3a.75.75 0 0 1 0-1.5h.75V12h-.75a.75.75 0 0 1-.75-.75Z\"/><path d=\"M12 1c6.075 0 11 4.925 11 11s-4.925 11-11 11S1 18.075 1 12 5.925 1 12 1ZM2.5 12a9.5 9.5 0 0 0 9.5 9.5 9.5 9.5 0 0 0 9.5-9.5A9.5 9.5 0 0 0 12 2.5 9.5 9.5 0 0 0 2.5 12Z\"/>"},{"n":"privacy","l":"Privacy Policy","s":"<path d=\"M12.75 2.75V4.5h1.975c.351 0 .694.106.984.303l1.697 1.154c.041.028.09.043.14.043h4.102a.75.75 0 0 1 0 1.5H20.07l3.366 7.68a.749.749 0 0 1-.23.896c-.1.074-.203.143-.31.206a6.296 6.296 0 0 1-.79.399 7.349 7.349 0 0 1-2.856.569 7.343 7.343 0 0 1-2.855-.568 6.205 6.205 0 0 1-.79-.4 3.205 3.205 0 0 1-.307-.202l-.005-.004a.749.749 0 0 1-.23-.896l3.368-7.68h-.886c-.351 0-.694-.106-.984-.303l-1.697-1.154a.246.246 0 0 0-.14-.043H12.75v14.5h4.487a.75.75 0 0 1 0 1.5H6.763a.75.75 0 0 1 0-1.5h4.487V6H9.275a.249.249 0 0 0-.14.043L7.439 7.197c-.29.197-.633.303-.984.303h-.886l3.368 7.68a.75.75 0 0 1-.209.878c-.08.065-.16.126-.31.223a6.077 6.077 0 0 1-.792.433 6.924 6.924 0 0 1-2.876.62 6.913 6.913 0 0 1-2.876-.62 6.077 6.077 0 0 1-.792-.433 3.483 3.483 0 0 1-.309-.221.762.762 0 0 1-.21-.88L3.93 7.5H2.353a.75.75 0 0 1 0-1.5h4.102c.05 0 .099-.015.141-.043l1.695-1.154c.29-.198.634-.303.985-.303h1.974V2.75a.75.75 0 0 1 1.5 0ZM2.193 15.198a5.414 5.414 0 0 0 2.557.635 5.414 5.414 0 0 0 2.557-.635L4.75 9.368Zm14.51-.024c.082.04.174.083.275.126.53.223 1.305.45 2.272.45a5.847 5.847 0 0 0 2.547-.576L19.25 9.367Z\"/>"},{"n":"contribute","l":"Contribute","s":"<symbol id=\"mark-github-icon-symbol\" viewBox=\"0 0 16 16\"><path d=\"M8 0c4.42 0 8 3.58 8 8a8.013 8.013 0 0 1-5.45 7.59c-.4.08-.55-.17-.55-.38 0-.27.01-1.13.01-2.2 0-.75-.25-1.23-.54-1.48 1.78-.2 3.65-.88 3.65-3.95 0-.88-.31-1.59-.82-2.15.08-.2.36-1.02-.08-2.12 0 0-.67-.22-2.2.82-.64-.18-1.32-.27-2-.27-.68 0-1.36.09-2 .27-1.53-1.03-2.2-.82-2.2-.82-.44 1.1-.16 1.92-.08 2.12-.51.56-.82 1.28-.82 2.15 0 3.06 1.86 3.75 3.64 3.95-.23.2-.44.55-.51 1.07-.46.21-1.61.55-2.33-.66-.15-.24-.6-.83-1.23-.82-.67.01-.27.38.01.53.34.19.73.9.82 1.13.16.45.68 1.31 2.69.94 0 .67.01 1.3.01 1.49 0 .21-.15.45-.55.38A7.995 7.995 0 0 1 0 8c0-4.42 3.58-8 8-8Z\"/></symbol><use xlink:href=\"#mark-github-icon-symbol\" />"}],"search":{"mode":0,"minChars":2,"maxResults":20,"placeholder":"Search","hotkeys":["k"],"noResultsFoundMsg":"Sorry, no results found.","recognizeLanguages":true,"languages":[0],"preload":false},"resources":{"History_Title_Label":"History","History_ClearLink_Label":"Clear","History_NoHistory_Label":"No history items","API_AccessFilter_Label":"Access","API_ParameterSection_Label":"PARAMETERS","API_SignatureSection_Label":"SIGNATURE","API_CopyHint_Label":"Copy","API_CopyNameHint_Label":"Copy name","API_CopyLinkHint_Label":"Copy link","API_CopiedAckHint_Label":"Copied!","API_MoreOverloads_Label":"more","API_MoreDropdownItems_Label":"More","API_OptionalParameter_Label":"optional","API_DefaultParameterValue_Label":"Default value","API_InheritedFilter_Label":"Inherited","Search_Input_Placeholder":"Search","Toc_Contents_Label":"Contents","Toc_RelatedClasses_Label":"Related Classes","History_JustNowTime_Label":"just now","History_AgoTime_Label":"ago","History_YearTime_Label":"y","History_MonthTime_Label":"mo","History_DayTime_Label":"d","History_HourTime_Label":"h","History_MinuteTime_Label":"m","History_SecondTime_Label":"s"}};
diff --git a/resources/js/search.json b/resources/js/search.json
index ab0fcdcffc..1ebff72fe0 100644
--- a/resources/js/search.json
+++ b/resources/js/search.json
@@ -1 +1 @@
-[[{"i":"#","p":["FCP Cafe is a technical community for professional Final Cut Pro editors."]},{"l":"Latest News","p":["FCP Cafe is an online community for professional Final Cut Pro editors.","Learn more about RSS Feeds here.","Should I update Final Cut Pro? Read our current recommendations here."]},{"i":"make-fcp-cafe-your-home-page","l":":icon-bookmark: Make FCP Cafe your Home Page","p":["Click Enter a URL. Then, type: https://fcp.cafe.","Click the General tab.","Click Yes.","Drag this tab to the Home button, then release.","If you have a current homepage: Next to the URL, click X.","In the menu bar on the top of your browser, click Tools.","In the top left corner of your screen, select Safari and then Preferences and then General.","In the top right corner of your computer's browser, click More icon and then Settings.","In the upper right corner of your browser, select the More icon and then Settings.","Next to Homepage enter: https://fcp.cafe.","Next to New windows open with and New tabs open with, select Homepage.","Select Internet Options.","Select your current homepage, then, enter: https://fcp.cafe.","Under \"Home page,\" enter: https://fcp.cafe, click OK and restart your browser.","Under Appearance, turn on Show home button.","Under Set your homepage, click the Down arrow and then A specific page or pages."]},{"l":"2023"},{"l":"August"},{"l":"17th August 2023","p":["Ripple Training is having a 72 hour Flash Sale!","These are awesome Final Cut Pro plugins personally created by Steve and Mark.","You can learn more here.","More information has been announced about the upcoming FCP Creative Summit.","You can follow along with the latest news here.","Want to contribute or advertise? Learn more here!"]},{"l":"10th August 2023","p":["Florian Duffe has tried something new on FCP Cafe, and has added an epic new interview-style case study!","You can read the over eight-thousand-word case study on the feature film SCHOCK here.","We've added FxPlug4 release notes to the FxPlug section.","As there's no official notification system for when FxPlug and Workflow Extensions SDK are updated, we'll try and keep an eye out and let you know on FCP Cafe when there's an update.","The Final Cut Pro Creative Summit dates and locations have now been confirmed.","It will take place November 6th to 8th at Apple Park & The Hyatt Regency Santa Clara.","Whether you are a trained professional or just starting your creative career, Apple has the software and tools you need to power your creative work. This unique event is where Apple power users and Final Cut Pro Professionals come together to learn and discuss their craft. We are excited to be back in Cupertino! The FCP Creative Summit features 2 full days of sessions in multiple tracks and a unique day at Apple!","You can visit the official website here.","Gyroflow Toolbox v1.1.2 is out now!","This release includes two bug fixes:","Updated to FxPlug v4.2.7, which offers improved stability and reliability.","Fixed a bug that could cause a memory leak. Thanks for reporting Денис Глушков!","Thanks to everyone who has purchased, downloaded and tested the latest Gyroflow Toolbox updates! The response has been awesome!","You can learn more and buy on the Mac App Store here.","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com"]},{"l":"6th August 2023","p":["Gyroflow Toolbox v1.1.1 is out now!","This release includes two bug fixes:","Fixed an issue where the Gyroflow Toolbox output could be incorrectly clipped when in a HDR project. Thanks for reporting Tumist! Thanks to AdrianEddy for fixing the issue in Gyroflow Core!","Fixed an issue where a Gyroflow Project could fail to reload correctly after restarting Final Cut Pro due to FxPlug4 incorrectly HTML decoding the string value. We solve this by now base64 encoding the Gyroflow Project in FxPlug4.","Thanks to everyone who has purchased, downloaded and tested the latest Gyroflow Toolbox updates! The response has been awesome!","You can learn more and buy on the Mac App Store here.","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!"]},{"l":"4th August 2023","p":["Gyroflow Toolbox v1.1.0 is out now!","I've dramatically improved the user interface to make it much easier, faster and more powerful.","You can now just drag & drop clips from the Final Cut Pro Browser to the Effects Inspector, including BRAW Toolbox clips!","You can learn more and buy on the Mac App Store here.","Final Cut Pro Efficient Editing: The ultimate guide to editing video with FCP for Mac, 2nd Edition is out now as both a Kindle and Paperback book.","It's been written by the amazing Iain Anderson- an author, editor, director, videographer, programmer, animator and educator based in Brisbane, Australia. An Apple Certified Trainer who regularly presents at conferences and user group meetings, Iain is a Lead Trainer for macProVideo.com, and creates educational video content for CoreMelt and many other organizations.","You can buy on Amazon here.","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"2nd August 2023","p":["Final Cut Pro 10.6.8 is now available on the Mac App Store!","The release notes only have one line:","Fixes an issue where video could freeze in the viewer.","However, based on early reports, this release seems to fix the various crashes that users were reporting too, in addition to the Viewer sometimes going black or strobing.","If you're currently using Final Cut Pro 10.6.6 or earlier we recommend sticking with that for the time being.","However, if you're using Final Cut Pro 10.6.7 we recommend updating.","Please make sure you make a backup of your Final Cut Pro application by creating a ZIP file of it, before updating. You should also manually backup any libraries before updating.","You can learn more about the issues in Final Cut Pro 10.6.7 here.","Ulti.Media is currently have a Super Software Summer Sale!","Most of their apps will be at super discount from the 1st to 15th of August.","You can learn more here.","Serge M has released an awesome new video with a bunch of Final Cut Pro tips from some of the best brains in the community.","You can watch on YouTube:","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com"]},{"l":"July"},{"l":"29th July 2023","p":["Automatically index your footage and search your library with natural language. No cloud required.","Currently it only exports to Adobe Premiere, however Final Cut Pro support is on the roadmap.","From the team behind Audio Design Design, SoundGen is a generative AI experience that turns your text prompts into music and art, with the option to download the files and add them into your film and audio projects.","Get it now at 30% OFF on the biggest storewide sale of the year!","Here's also a very early sneak peak of Audio Design Desk 2.0:","Kino AI for Mac is out now as a public beta!","Kino is an AI assistant for tracking footage metadata and organizing your media assets.","motionVFX's mPuppet is now 100% Apple Silicon native!","Pull the right strings and bring your assets to life with organic movement!","The alpha version can only do a maximum of 30 seconds. Depending on the prompt, sometimes it can found great, other times it's very computer generated. It'll definitely improve dramatically over time!","The beta program is entirely free for you to use and experiment with. As SoundGen matures, the developers will be integrating it directly into Audio Design Desk.","Their goal is to give their users access to an even broader collection of sounds on demand, right within the DAW.","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!","We've been testing it out, and it's very handy. It uses everyone's favourite whisper.cpp, and Open Neural Network Exchange (ONNX) under the hood.","You can learn more here.","You can sign up here.","You can watch a demonstration here:"]},{"l":"24th July 2023","p":["Ben Kozuch reports:","The 2023 FCP Summit will take place in Cupertino in November.","We will be announcing dates, venue and the program in about a week.","The Summit will feature a full day at Apple followed by 2 day of breakout sessions and a mini expo at a hotel venue close by.","Courtesy Apple, the cost of Full Pass will only be USD$299 for the entire 3 days.","Exciting times!","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"22nd July 2023","p":["The amazing Alex Raccuglia from Ulti.Media has written an incredibly detailed developer case study discussing his latest application Transcriber.","You can read the case study here.","You can learn more and purchase at FxFactory.","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com"]},{"l":"21th July 2023","p":["\uD83D\uDE0E 300+ drag & drop presets\uD83D\uDE0E Mocha tracking\uD83D\uDE0E Create your own flares\uD83D\uDE0E Beat Reactor + more","A unique Keyword Manager","Builder includes:","Builder is a hybrid of word processor and video editor combined! It's faster for transcript-based workflows than in Final Cut Pro.","Builder is a Text Based Editing app that’s tightly integrated with, and complements, Final Cut Pro. Builder NLE is a fully featured Text Based Editor that works with Final Cut Pro.","Builder is designed to write stories from multiple transcripts using transcripts to edit text and video at the same time.","Builder is the ultimate solution for text-based video editing for productions that rely heavily on transcripts.","Built-in synthetic voiceover","Come for the free transcripts, and write great stories with our superior workflows!","Full keywording support (to and from Final Cut Pro)","Multiple outputs including sending to Final Cut Pro for finishing","Our friends at Boris FX have added some new Continuum FCP Lens Flares.","Quickly add dreamy lens flares to your #FCP projects — only $39!","Superb search and filtering tools","Text and video are always linked so you can go from scanning text to observing nuance, instantly, anywhere in Builder.","Today is the last day of the introductory USD$50 discount on Builder NLE in the Mac App Store.","Unlimited free transcription in 14 languages","Unlimited stores","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!","You can buy on the Mac App Store here.","You can learn more here."]},{"l":"20th July 2023","p":["I've been cutting all day with Final Cut Pro 10.6.7.","This is a fresh job (i.e. not something migrated from 10.6.6), and it has a LOT of third-party Motion Templates, effects, random still images, random videos in a variety of formats, etc.","Unfortunately, whilst I was able to successfully edit, and export without too many dramas, 10.6.7 definitely seems more buggy and unreliable than 10.6.6.","I had to manually quit and restart Final Cut Pro quite a few times throughout the day because the Viewer was just black. Nothing I could do would bring it back to life, apart from a restart.","This is consistent with other professional long-form editors I've chatted to.","After one of the restarts, after applying an cut to an audio clip, and adding a transition, suddenly the Viewer went \"strobing\" - again, requiring another manual restart.","I haven't had any crashes, but it's definitely got... issues.","One major confirmed bug is that Final Cut Pro 10.6.7 doesn't properly respect 0% opacity in Motion Templates. For example, if you apply the Placeholder Generator, it will ALWAYS show the notes:","This could be a deal breaker if you're using a Motion Template that uses this technique to hide things. Luckily none of the Motion Templates I used today had any issues.","It's also worth nothing that Final Cut Pro 10.6.7 (for Mac) uses a newer Library format than Final Cut Pro 1.1 (for iPad).","This means that if you want to use Transfer Toolbox to go from Mac to iPad, you should keep using Final Cut Pro 10.6.6 (for Mac).","My suggestion would be to stick with Final Cut Pro 10.6.6 for now, and wait for another bug fix in a few weeks time.","Chris @ LateNite","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"19th July 2023","p":["Addresses an issue where audio effects would not be reset during playback.","Addresses an issue where clip height adjustments would not update audio-only clips in connected storylines.","Addresses an issue where copying and pasting transform settings would unexpectedly paste clip speed.","Addresses an issue where the color space of a Photo-JPEG source was incorrect when Color space was set to Automatic.","Addresses an issue with keyboard shortcuts not working as expected in the content browser.","Changed the Settings and Locations sidebar to now be resizable when the Inspector is open.","Compressor 4.6.5 is out now with the following enhancements and bug fixes:","Final Cut Pro 10.6.7 is out now with the following bug fixes:","Final Cut Pro for iPad 1.1 is out now with the following bug fixes and enhancements:","Fixes an issue where an Audio Units effect could have incorrect values when importing using FCPXML.","Fixes an issue where an exported IMF supplemental package was one frame shorter than the original package.","Fixes an issue where importing media on a device with no remaining storage would cause Final Cut Pro for iPad to quit unexpectedly.","Fixes an issue where resetting audio settings would unexpectedly reset clip speed.","Fixes an issue where the Control Range setting in the Color Adjustments effect would be incorrectly set to SDR when importing using FCPXML.","Fixes an issue where the Keywords window would open offscreen with the timeline minimized.","Importantly, Final Cut Pro 10.6.7 on Mac uses a newer Library format than Final Cut Pro 1.1 on iPad. This means that if you want to use Transfer Toolbox to go from Mac to iPad, you should keep using Final Cut Pro 10.6.6.","Improves performance when using the Sequence Text behavior with Anchor Point set to Line (in the Layout pane of the Text Inspector).","Improves reliability and performance when dragging a clip from the browser to the timeline.","Improves reliability and performance when using soundtracks and dynamic titles.","Improves reliability when processing 4:2:2-based H.264 media on Mac computers with Apple silicon.","Improves reliability when retiming a clip with Scene Removal Mask applied.","Improves reliability when retiming a clip with the Scene Removal Mask applied.","Improves stability when dragging a group that contains an FxPlug plug-in to the Favorites folder.","Improves stability with FxPlug 4 plug-ins.","Improves visual feedback and reliability when rating and adding keywords to clips while filtering clips in the browser.","Improves visual feedback when adding effects and transitions to timeline clips in Position mode.","Improves waveform redrawing on expanded audio components when adjusting volume with the Touch Bar.","In other news, Logitech has acquired Loupedeck - which is big news for a lot of Final Cut Pro editors who use Loupedeck devices with CommandPost.","Interestingly, this update requires a database update, so there must be some bigger changes under the hood.","Motion 5.6.5 is out now with the following bug fixes:","Move the playhead backward or forward 10 frames using the keyboard shortcuts Shift-Left Arrow and Shift-Right Arrow.","Resolves an issue where disabled multicam audio angles would appear in the audio component list in the inspector.","Resolves an issue where importing clips with the same name would generate blank clip thumbnails.","Resolves an issue where the Voice Isolation Amount slider would snap to 0% when trying to set a value less than 7%.","Resolves an issue with custom fonts not appearing in the inspector.","Resolves an issue with the appearance of onscreen controls for cropping and shape masks.","Scott Simmons has also written his thoughts on the acquisition over at ProVideo Coalition.","Show info for browser clips using the keyboard shortcut Control-I.","Show or hide the jog wheel using the keyboard shortcut Control-Shift-W; expand or collapse it using Control-W.","Split and switch multicam clip angles using the keyboard shortcuts 1, 2, 3, and 4.","Switch the jog wheel between playhead mode and nudge mode using the keyboard shortcut Shift-W.","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com","Turn audio skimming on or off using the keyboard shortcut Shift-S.","Turn skimming on or off using the keyboard shortcut S.","Turn snapping on or off using the keyboard shortcut N.","We're excited to test it out, and see if there's other undocumented fixes and improvements.","You can learn more here."]},{"l":"18th July 2023","p":["Exciting news! Apple has listed Marker Toolbox in their Mac App Store Story, The power of Final Cut Pro in both the Great apps for Final Cut Pro& Workflow Extensions sections! Amazing! Thanks EVERYONE for your on-going support!","PostSync has been updated to Version 1.7.","There's lots of feature improvements and bug fixes. You can find the full list of changes here.","You can learn more here.","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!"]},{"l":"16th July 2023","p":["For those that missed the news back in May, Apple has updated their Apple ProRes RAW White Paper to include information about the all-new plug-in architecture for camera makers.","You can download it as a PDF here.","PetaPixel also has an article that explains it in more detail here.","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"12th July 2023","p":["The amazing Arthur Moore is currently having a sale on his awesome plugins.","Get a 25% discount when you use the code: BADASSFAM25","You can learn more here","BRAW Toolbox v1.3.0 is out now!","It has added support for Panasonic Lumix GH6 Blackmagic RAW clips.","You can learn more here.","CommandPost v1.4.20 is out now!","It has added support for the latest Loupedeck CT hardware. Thanks for reporting Marshall Fife!","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com"]},{"l":"7th July 2023","p":["Ulti.Media Transcriber is out now! We've been beta testing it for a few months now, and it's awesome.","You can learn more and purchase at FxFactory.","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!"]},{"l":"6th July 2023","p":["Dylan John has a great video called STOP doing THESE 10 THINGS in Final Cut Pro!. It's full of lots of great tips!","You can watch on YouTube here:","iZotope is currently running a summer sale!","Without a doubt iZotope RX10 is the very best audio recovery tool on the market - it can do magical things.","You can learn more here.","Ulti.Media Converter 2 now has the ability to save 8-bit .PNG files, which is useful for non-photographic app screenshots.","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"3rd July 2023","p":["We have an awesome new case study on FCP Cafe talking about the 2D animated series, The Future of Everything.","You can read all about the workflow here.","You can watch the series here:","CommandPost v1.4.19 is out now!","We've added actions to control all the parameters for a Colourlab Ai Effect in the Final Cut Pro Video Inspector. Enjoy!","Color Finale is having a Summer Sale! Get in quick!","You can learn more here.","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com"]},{"l":"June"},{"l":"30th June 2023","p":["Marker Toolbox v1.3.0 (14) is out now on the Mac App Store.","New Features:","Added the ability to export Avid Media Composer Marker Text files. Thanks for suggesting Scott Simmons!","Added support for importing the Timecode+ TSV format. Thanks for suggesting pulpjedi!","Improvements:","Various improvements to the user interface. Marker Toolbox now looks a lot nicer!","We moved the OpenAI API key into the Settings panel, and added a \"Validate\" button so that you can check that the API key is valid.","All settings are now saved between the main application and the Final Cut Pro Workflow Extension, meaning that if you change a setting in the Workflow Extension, it will also change in the main application and vice versa.","You can learn more here.","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!"]},{"l":"29th June 2023","p":["Mark at Ripple Training recently interviewed filmmaker Daniel Robert Cohn, discussing how he used Motion to create his music video World Gone Nutz.","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"24th June 2023","p":["We've thrown together a simple Python script called Rename Avid MXF Files.","It's used to rename MXF files generated by Avid Media Composer to match the Package Name in their metadata.","The script can process a single file or a folder containing multiple MXF files.","This is useful if you want to move native Avid MXF files from Avid Media Composer to Final Cut Pro.","You can download and learn more on GitHub.","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com"]},{"l":"22nd June 2023","p":["Adds Resolve EDL Export","Adds support for Frame.io's FIOJSON files","Allows you to apply Markers to Clips from Final Cut Pro","BRAW Toolbox v1.2.1 (53) is out now, with a minor bug fix:","BRAW Toolbox v1.2.2 (54) is out now, with some internal improvements:","BretFX has released a new way to animate lists in Final Cut Pro.","Builder NLE in the Mac App Store is the same app that is available through the membership, but without access to the wider Lumberjack live logging tools. It continues to include unlimited free transcription in 16 languages, closed caption support on Stories, unlimited stories, a comprehensive Keyword Manager, and extremely powerful search and filter tools to get you to your stories faster.","Dominic Carter has reported on Twitter that:","Happy to report that 2 major bugs are fixed in MacOS 14 Sonoma beta 2. XAVC bug is gone (with a few preliminary notes) and qnap qfinder pro is working (for those that edit from NAS)","Just to keep you on your toes...","Marker Toolbox v1.2.0 is out now! It has some awesome new features:","On the anniversary of the release of Apple’s Final Cut Pro X, Lumberjack System has released their Text Based Editing app as a one-off purchase in the Mac App Store.","The original and most complete Text Based Editing solution for Final Cut Pro has long been available as part of the Lumberjack System Membership. This version makes Builder NLE more easily found, and more accessible to Final Cut Pro users who want a complete Text Based Editing environment for Final Cut Pro.","The Workflow Extension now gracefully aborts (instead of crashing), and shows an error message if a BRAW clip is corrupt, and the metadata can't be read. Thanks for reporting Dominik Radecki!","There's a new app on the Mac App Store! Introducing Lumberjack System Builder NLE!","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!","We've added a bunch of additional checks to the FxPlug4 Renderer, to ensure that all objects received from the Blackmagic RAW SDK are valid and correct to avoid any potential crashes due to referencing null pointers. Thanks for reporting Dominik Radecki! Big thanks to the Blackmagic RAW team and Final Cut Pro team for all their help and support!","You can download Builder NLE from the Mac App Store here","You can learn more about Lumberjack Builder here.","You can learn more here."]},{"l":"21st June 2023","p":["Today is Final Cut Pro X's 12th birthday!","You can read more over at Richard Taylor's website.","Philip Hodgetts will also be making an announcement on Richard's Live Stream later today:","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"18th June 2023","p":["Transfer Toolbox v1.0.2 has been released for free on GitHub!","Transfer Toolbox allows you to convert Final Cut Pro (for Mac) Libraries into Final Cut Pro (for iPad) Projects.","You can now easily get from your Desktop to your iPad! Simply drag your existing Final Cut Pro library into the application's drop zone.","You can learn more and download for free here.","The Transfer Toolbox icon was designed by Matthew Skiles.","Russ Hughes has written a great blog post titled: I Ignored Davinci Resolve - I Was Wrong.","It explains why he jumped from Final Cut Pro to DaVinci Resolve for editing, from a sound designers perspective.","You can read here.","For context, for the stuff LateNite does Final Cut Pro is still king, for the simple fact that it’s the most fun and most creative tool to edit with.","DaVinci Resolve is INSANELY powerful, and Blackmagic is a much more friendly company to work with than Apple.","However, I personally feel like I'm an engineer when using Resolve, whereas in Final Cut Pro I feel like an artist.","You can do amazing things in both tools - but Final Cut Pro feels like the better instrument for creative flow.","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com"]},{"l":"17th June 2023","p":["We've added yet another awesome new case study to FCP Cafe on Der Schatten (The Shadow).","You can read more here.","Here's the trailer:","Dylan Bates- The Final Cut Bro- has now reached over 40K YouTube Subscribers, and as a thank you to the Final Cut Pro community, he's offering 40% off all his plugins with the code 40kbro for the next four day!","You can learn more here.","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!"]},{"l":"16th June 2023","p":["We've added an awesome new case study to FCP Cafe on India’s Space Odyssey.","You can read more here.","Here's the trailer:","BRAW Toolbox 1.2.0 (52) is out now!","It has added support for Fujifilm X-S20 Blackmagic RAW clips, and the Blackmagic RAW SDK has been updated from v3.1 to v3.2.","You can download and learn more here.","motionVFX's mLogo Cinematic 2 is out now with limited promo pricing.","You can learn more here.","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"15th June 2023","p":["CommandPost v1.4.18 is out now!","A few new features, and a bunch of bug fixes, especially for those on macOS Ventura.","You can learn more and download here.","Our good friends at fxguide have a great new blog post - Apple M2 Studio Learns Nuke Machine Learning.","The author, Mike Seymour, is one of the smartest and best educators in the entire film industry, period.","You can read more here.","BorisFX has a really interesting new case study on their blog - The Last Of Us: Wylie Co.’s Motion Tracking Journey with Mocha Pro.","MasterClass is currently having a 50% off sale for Fathers Day.","There's lots of great training for filmmakers and video editors.","Jonny Elwyn has some great summaries here:","Master Filmmakers on the Craft of Film Editing","Masterclass All-Access Pass Reviewed","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com"]},{"l":"14th June 2023","p":["As a result, in BRAW Toolbox v1.1.1 we made Create Multicam Clips the default option as a workaround to this issue.","BRAW Toolbox v1.1.4 (51) is now available on the Mac App Store.","Dylan Bates(The Final Cut Bro) has demonstrated the new BorisFX's Continuum Beat Reactor plugin.","Essentially, it's very unusual for an Effect to change the output of a Generator, so we were getting unpredictable results.","FCP Cafe now has a new logo/icon designed by the amazing Matthew Skiles. We hope you like it as much as we do!","He has also designed a new logo/icon for Resolve Cafe, which is equally amazing.","HUGE thank you to Tangier Clarke for supplying a reproducible library to help us solve this annoying bug.","Previously, Synchronised Clips could cause random glitches during playback, and produce unexpected results in some, but not all, cases.","Thanks to the help and support of the awesome Final Cut Pro team, we finally have a workaround to the Synchronised Clips bug.","To fix Synchronized Clips created in earlier versions of BRAW Toolbox, we've added a Repair Synchronized Clips (prior to v1.1.3) Toolbox, which will add keyframes to all your Generators within the BRAW Toolbox Clip.","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!","We now know this was actually due to the fact that we're applying the BRAW Toolbox effect to a Custom Solids Generator.","We now workaround this issue by simply applying keyframes to the Custom Solid, so that Final Cut Pro always renders the frames - simple, but effective.","We'll leave Create Multicam Clips on by default, however you will no longer get a warning message when you toggle this preference.","We've just added an amazingly detailed case study for Blood & Gold. Check it out here!","Whilst Final Cut Pro worked correctly when scrubbing and skimming a clip, during playback, because the Custom generator normally doesn't change its output (i.e. it's always a static colour), Final Cut Pro was using a cached frame, rather than rendering a new frame, which caused the glitches.","You can learn more here."]},{"l":"13th June 2023","p":["FCP Cafe has been slowly growing and expanding, and professional film & television editors from all around the world start making contributions!","If you haven't already checked out the Cut on Final Cut Pro page, it's worth a visit!","The amazing Philip Hodgetts from Intelligent Assistance has written an excellent blog post on Generative AI Devalues Experience here.","A great new YouTube channel called Lukes Got Brains has started posting some really interesting videos about on-screen controls and rigging in Motion & Final Cut Pro.","evrExpanse 3.3.1 is out now with Rating Metadata support, allowing you to easily evaluate and organise video quality.","You can learn more here","Andy To challenged himself to produce a video shot and edited on Final Cut Pro for iPad.","Alex Raccuglia at Ulti.Media is getting closer and closer to finally releasing Transcriber to the world!","Here's another sneak peak - explaining how to import subtitles into existing sessions:","There's an interesting article over at arstechnica:","“Clearly predatory”: Western Digital sparks panic, anger for age-shaming HDDs","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"10th June 2023","p":["The amazing Iain Anderson has released a new free online training course for Final Cut Pro for iPad.","You can learn more here.","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com"]},{"l":"9th June 2023","p":["We're currently in the process of completely rebuilding the CommandPost website to bring it more inline with this website, and all our other software packages.","This will allow us to add better documentation more quickly - especially developer documentation. We'll also release a new CommandPost update within the next few days, so stay tuned!","At WWDC Apple has announced/released a new MediaExtension Framework, which is BIG NEWS for Mac users! We haven't had custom codec support since Apple killed QuickTime many years ago.","This framework provides a means for developers to create format readers and video decoders for media that the system doesn’t natively support.","This means that for macOS Sonoma, we'll be able to add native Blackmagic BRAW support directly to macOS!","We intend to add this as a feature to BRAW Toolbox for the public release of macOS Sonoma, so stay tuned!","Premium VFX are having an Anniversary Discount Sale, with all their Final Cut Pro products 35% off until June 16.","You can learn more here.","Do you need third party plugins for background removal, morph transitions, color correction and noise removal, or does Final Cut Pro have you covered? Today, Jenn Jager is doing a head to head challenge to see if third party plugins work better than native FCP effects.","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!"]},{"l":"8th June 2023","p":["Matti Haapoja has reported on Twitter that:","...editing in Final Cut Pro in AR will be available for launch \uD83D\uDC40 editing with eyes and gestures. We freaking finally get to edit minority report styles.","You can read more over at AppleInsider.","Michael Kammes has also written a great article on Empowering Creatives: The Future of Creativity and Collaboration in the M&E Industry.","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"7th June 2023","p":["To My Father is a Short Documentary Film edited in Final Cut Pro that premieres this week at the Tribeca Film Festival in New York City.","The movie depicts Deaf actor Troy Kotsur's journey to winning an Oscar and his father's inspiring influence on him, despite a tragic accident.","Troy previously won the Best Supporting Actor Oscar for his role in Apple TV’s CODA.","Josh Meyers, the film’s editor, had previously presented this project as a work in progress as part of his Keynote Presentation at the 2022 FCPX Summit in Austin, Texas.","Josh and the team at Emergent Order Foundation has truly enjoyed collaborating with Troy and hope people can come out to support the film if you’re in town!","Screening:","To My Father will be screening 4 times at the festival as part of the Shorts program.","Thursday June 8th @ 8:15pm Friday June 9th @ 2:30pm Wednesday June 14th @ 6:00pm Saturday June 17th @ 3:30pm","There's more information on the Tribeca Schedule and Tickets Page.","It is also available for streaming with the Tribeca At Home pass.","Credits:","Director: Sean Schiavolin Producers: John Papola, Troy Kotsur, Justin Bergeron Screenwriter: Sean Schiavolin Cinematographer: Brody Carmichael Editor: Josh Meyers Composer: Hanan Townshend Associate Producer: Jessi Bennett","Trailer:","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com"]},{"l":"6th June 2023","p":["Below are some of the relevant highlights for Final Cut Pro editors.","BRAW Toolbox v1.1.3 is out now with a re-designed Relink BRAW Clips within an LIBRARY / EVENT / PROJECT Toolbox!","DaVinci Resolve will run on Vision Pro out-of-the-box. No word yet on Final Cut Pro support.","First up, the new Mac Pro:","Here's a 17 big & little things at WWDC23.","Iain Anderson has also written Apple Vision Pro revealed at WWDC over at ProVideo Coalition.","It's USD$3499 and \"available early next year in the U.S\".","NeoFinder 8.4.1 is another free update for all customers with a NeoFinder 8.x license.","NeoFinder 8.4.1 is out now. This is a bugfix release that contains two fixes for the Smart Folders, and one fix when searching hierarchical keywords.","NeoFinder 8.x is a paid upgrade for NeoFinder 6.x, NeoFinder 7.x, and CDFinder customers.","Premiere Gal is giving away USD$10,000 worth of Video Gear!","Purchase a Ninja V, Ninja V+, Shogun Connect, Sumo 19SE or Shogun Studio 2 before the end of June 2023 to receive a FREE Assimilate Play Pro Studio license worth US$299 when registering your product. Existing registered owners quality for an exclusive price of USD$99.","There's the new 15-inch MacBook Air:","There's the new M2 Ultra.","There's the new macOS Sonoma:","There's the new Vision Pro.","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!","WWDC time!","You can buy BRAW Toolbox and learn more here.","You can learn more about the new MacPro here.","You can learn more about the toolbox here.","You can learn more about Vision Pro here.","You can learn more here.","You can watch the entire WWDC Keynote here."]},{"l":"5th June 2023","p":["We've added some information from the editor, and lots of Final Cut Pro screenshots to our Turn of the Tide case study. Enjoy!","It's a month old, but for those that might have missed it, there's an awesome YouTube video that showcases the Audio Design Desk v2.0 Beta.","Audio Design Desk is to audio software what Pro Tools was to the tape machine. It’s an entirely new breed of Digital Audio Workstation that artists can play like an instrument, revolutionizing the process of adding music and sound effects to picture and cutting down what can typically be a full day project to just a few minutes. It comes bundled with 75,000 sounds embedded with patent-pending Sonic Intelligence™, using AI-assisted content creation tools to enable filmmakers, sound designers, composers, and creators to produce cinema-quality compositions at the speed of thought, giving them a level of creative control that is unmatched by any other software.","You can learn more about Audio Design Desk here.","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"3rd June 2023","p":["80 drag-and-drop presets","8mm film stock, bleach by-pass, and day for night looks","Award-Winning Mocha tracking through Pixel Chooser: Quickly mask & isolate effects","BCC+ Looks Includes:","BorisFX is giving away their free Continuum FCPX Looks filter!","Chris @ LateNite","Custom FX Editor: Browse and apply presets in seconds","Diffusion, color gradients, and lighting gels","FCPeffects.com is celebrating 12 years making plugins for Final Cut Pro!","Fully customizable: Easily adjust hue-sat, brightness, contrast, grain, and more","Get all of their plugins in an easy to install package with the Mega Bundle. I've just pressed the buy button!","I proposed creating avid.cafe and premiere.cafe/ premierepro.cafe on some big Facebook Communities and my posts were pretty quickly removed.","It's been so incredibly exciting watching all the professional editors contributing to this site via GitHub (check out these closed pull requests!).","Meanwhile, the Final Cut Pro community has fully embraced my crazy spur-of-the-moment idea, and gone full steam ahead - love it!","Thanks team!","They just need to HURRY UP and give us native mocha Pro support within Final Cut Pro! In the meantime, this is great...","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com","We've been using mocha Pro for years, and love it dearly - so are always excited by what BorisFX have in-store!"]},{"l":"2nd June 2023","p":["1 Assistant Editor","174 shifts of editing","3 Film Editors ( Florian Duffe, Silke Botsch & Martin Wunschick)","3500 Audio Clips","3946 Video Clips","89 hours of footage","CommandPost- using Titles to Keywords for line-by-lines","Commentary Head of Editing:","Der Schatten(The Shadow) is streaming tomorrow on German public broadcaster ZDFneo.","Editing a TV show in Final Cut is a charm if you set it up right. Especially with the new MacStudio and fast SSDs we could fly through the tons of footage. Postlab provides the necessary tools to collaborate between different workstations. Since we had a lot of Flashbacks, the structure of FCP - editing every Scene in a Compound Clip - made it really easy to 'steal' edits of another episode from our fellow editors. I will follow up with a decent case study on this site in a few days. Stay tuned.","Final Cut Pro v1.0.1 for iPad is out now!","Fixes an issue where the validation of third-party Audio Unit Extensions prevented Final Cut Pro for iPad from opening.","Florian Duffe writes:","Fun Stats:","It's a 6 x 45min mystery series cut in Final Cut Pro, based on a novel by Melanie Raabe.","Notion- to build a digital bulletin board, one scene one card","Picture Lock Timelines of all 6 Episodes Final Cut Pro Screenshots","Poster:","PostLab- collaborating in 6 libraries on 4 workstations in 3 cities","Producers Best Friend- creating lists (ADR, VFX, Music, DI, Motion Design)","Screenshots:","Sync-N-Link- creating Sync Clips with Metadata","The journalist Norah (Deleila Piasko / Transatlantic) moves from Berlin to Vienna to start a new life and job at a young & arty magazine. As soon as she arrives, a homeless woman foretells her that she will kill a man named Arthur Grimm six weeks later. Norah tries to ignore the incident - until strange things happen.","The only change according the the release notes is:","The Transfer Toolbox website has some information on the danger of using external drives on iPad.","Tools Used:","Trailer:","Ulti.media has released a new Transcriber Promo on YouTube. Chris at LateNite has been beta testing, and it's awesome.","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!","X2Pro- send Audio to Soundpost","You can find the release note on FCP Cafe. We'll update that page if we find anything undocumented.","You can learn more here.","You can watch the trailer here."]},{"l":"1st June 2023","p":["Alteon.io has announced that Brian Meaney will now be their new Head of Product. He brings more than two decades of experience from Apple and Magic Leap. Brian will direct product development and UX for their entire ecosystem.","This is very exciting for Final Cut Pro users - as Alteon is very committed to the Final Cut Pro ecosystem! You can learn more here.","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"May"},{"l":"31st May 2023","p":["Colourlab Ai is having a Spring Flash Sale! Up to 50% Off on Our Color Grading Software - Only 48 Hours Left!","Spring is in the air, and so are the savings!","Here's what's on offer:","Colourlab Ai Studio Annual License: Get a whopping 50% off on their Colourlab Ai Studio Annual License. This brings the cost of Colourlab Ai, Look Designer Plugin, and Grainlab Plugin down to just $249. That's less than the cost of a single plugin! Considering the combined value of all three applications is over $1000, this is a massive saving. Use the code springstudio50 to take advantage of this offer. Look Designer Perpetual Licenses: Colourlab Ai is offering a 30% discount on their Look Designer Perpetual Licenses. This means you can own Look Designer forever for just $349. Look Designer 3.0 for Davinci and Premiere runs on both Mac and PC and is the perfect companion for creating X01 files, Look Design, Look Testing, EL Zones, and Full Color Management. Use the code springlook30 to avail this offer.","Buy Colourlab Ai Studio here.","Buy Look Designer Perpetual here.","A new batch of nOb controllers is now available! You can order here.","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com"]},{"l":"30th May 2023","p":["We're currently experimenting with adding Discussions & Reactions to the bottom of every page at FCP Cafe - that tie into GitHub Discussions. You'll need a free GitHub account to comment and react.","We're still working on the formatting - they're currently a bit \"buggy\" in terms of automatically resizing, and sometimes require a hard page reset to appear properly. We're investigating a proper fix - stay tuned.","Recall Toolbox is now available for early beta testing on TestFlight.","Recall Toolbox is a Final Cut Pro Workflow Extension that acts as a Shared Pasteboard.","Anything that you can copy and paste in Final Cut Pro, Recall Toolbox can store.","Chris at LateNite has decided to put the Final Cut Pro & DaVinci Resolve Communities literally head-to-head by introducing Resolve Cafe. Let's see which community is more proactive in sharing awesome content!","MotionVFX is having a 50% Flash Sale on selected products.","They've also released a nice new package called mProduct.","AudioSwift 2.3.5 Beta with 14-bit MIDI CC is now available.","AudioSwift for macOS transforms your trackpad into a set of MIDI tools like sliders, triggers, XY pads, mixing controllers and MPE. With support for MacBooks and Magic Trackpads, the app runs in the top menu bar waiting to be called. Tap the trackpad with a four fingers tap gesture to activate and a console window appears showing the current controller mode. You can then start sending MIDI with simple touch gestures and when you finish, press the Esc key to turn AudioSwift off. It’s the perfect compact MIDI controller for the mobile or desktop producer.","AudioSwift works great in companion with CommandPost via MIDI for controlling Final Cut Pro.","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!"]},{"l":"29th May 2023","p":["Color Finale 2.6.6 has been released to fix support for Final Cut Pro 10.6.6.","Only install Color Finale 2.6.6 after updating to Final Cut Pro 10.6.6. The plugin won’t work otherwise.","If you are on Color Finale 2.6.5, update by launching ColorFinale.app and navigating to ColorFinale > Check For Updates… in the menu bar.","You can learn more on their website.","Chris at LateNite has updated the pricing for BRAW Toolbox, Gyroflow Toolbox& Marker Toolbox.","BRAW Toolbox is now 79.99 in your local currency (i.e. AUD79.99, USD79.99, CAD79.99).","Marker Toolbox is now 19.99 in your local currency (i.e. AUD19.99, USD19.99, CAD19.99).","Gyroflow Toolbox is now 4.99 in your local currency (i.e. AUD4.99, USD4.99, CAD4.99).","Their upcoming apps will have the same pricing model:","Recall Toolbox is now 29.99 in your local currency (i.e. AUD29.99, USD29.99, CAD29.99).","Transfer Toolbox is now 4.99 in your local currency (i.e. AUD4.99, USD4.99, CAD4.99).","However, for example, if your country doesn't have an equivalent of 4.99 (i.e. Rp89,000 in Indonesia), it will default to a USD$4.99 equivalent.","Transfer Toolbox is currently waiting for approval on the Mac App Store, but you can download from TestFlight.","Recall Toolbox is currently on TestFlight, and will hopefully be submitted to the Mac App Store by the end of this week for review.","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"28th May 2023","p":["We've recently reported two annoying Final Cut Pro 10.6.6 bugs to be across:","FCPXML v1.11 doesn't support Soundtracks (May 28, 2023)","Audio Presets don't migrate from earlier versions to v10.6.6 (May 27, 2023)","We've reported them to Apple, and will keep track of them in our Bug Tracker.","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com"]},{"l":"27th May 2023","p":["Hedge are on the lookout for passionate beta users to help shape the future of Hedge products (like Hedge, PostLab& EditReady). If you think you have what it takes and would like to join, sign up here.","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!"]},{"l":"26th May 2023","p":["Blood & Gold premieres today on Netflix. Fully edited in Final Cut Pro.","Chris at LateNite has also announced Transfer Toolbox on Twitter, allowing you to convert Final Cut Pro (for Mac) libraries into Final Cut Pro (for iPad) projects.","Created by Augusto de Fraga. Edited by Marcos Castiel (Ep's 1, 2, 5 & 7) and Pedro Ribeiro (Ep's 3, 4 & 6).","Dylan Bates - The Complete Guide to Final Cut Pro on iPad (53mins)","Edited by Knut Hake.","Everyone's talking about Final Cut Pro for iPad.","FCPXMLs were sent to DaVinci Resolve for colour grading and X2Pro was used to send AAFs to ProTools for mixing. The sound designer was very impressed with the neatness of the timeline.","He also discovered that Final Cut Pro (for iPad) can actually read files from an external SSD.","Here's a collection of some of the great Final Cut Pro (for iPad) YouTube videos:","iJustine - Final Cut Pro on iPad Review - Forget everything you know about editing (13mins)","PetaPixel - Final Cut Pro for iPad Review: It FINALLY Happened! (12mins)","Recall Toolbox is now available on TestFlight as an early beta!","Ripple Training - Final Cut Pro for iPad Getting Started (39mins)","Sex O'Clock premieres today in Czechia. Episodes 3, 6, 9 and 10 was cut in Final Cut Pro by Jiří Fiala(the other episodes were cut in Adobe Premiere).","Six Colors - Hands on with Final Cut Pro for iPad (32mins)","The Verge - Final Cut Pro for iPad review: still rendering (10mins)","Turn of the Tide premiered today on Netflix. Fully edited in Final Cut Pro.","Tyler Stalman - Final Cut Pro for iPad: Guide & Review (16mins)","You can read the full case study here."]},{"l":"23rd May 2023","p":["Iain Anderson has written a very detailed Final Cut Pro 10.6.6 blog post over at Pro Video Coalition.","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com","Want to contribute or advertise? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"LateNite Technology","p":["This website has been thrown together by Chris Hocking at LateNite.","Constantly looking for ways to innovate, LateNite is as passionate about production and post production as it is storytelling. Their pursuit of creative excellence has seen them work closely with global cinematic technology companies to craft post workflow solutions and critically celebrated software in-house."]},{"l":"In Development","p":["Here's a sneak peak of some of the things we have in development.","Exact shipping dates may vary, as all these ideas are still in active development, and subject to things like TestFlight & App Store approval, etc."]},{"l":"Timecode Toolbox","p":["ETA: July 2023","We're spinning out the Sony Timecode Repair Toolbox from CommandPost and making it a standalone app.","In addition to the current functionality, you'll also be able to modify the original camera files to add Final Cut Pro friendly timecode."]},{"l":"Metadata Toolbox","p":["ETA: August 2023","Metadata Toolbox is a Workflow Extension that allows you to drag in a project, select burn-in metadata options, then drag a Compound Clip back to the timeline with all the metadata as titles."]},{"l":"RAW Toolbox","p":["ETA: September 2023","Following in the footsteps of BRAW Toolbox, RAW Toolbox will initially add Nikon N-RAW support to Final Cut Pro."]},{"l":"Import Toolbox","p":["ETA: October 2023","Import Toolbox will be a Workflow Extension that allows you to import files with better metadata and preset controls (i.e. clip volume).","We will also be spinning out the Watch Folders from CommandPost and moving them into this app."]},{"l":"Assistant Toolbox","p":["ETA: November 2023","Assistant Toolbox will be a Workflow Extension that spins out Titles to Keywords and Auto Sequence from CommandPost.","It'll include various improvements and enhancements to make the job even easier for Assistant Editors working on long-form feature film projects."]},{"l":"Magic Toolbox","p":["ETA: December 2023","Magic Toolbox is our first Machine Learning experiment.","You'll be able to add titles to the timeline, to trigger Machine Learning actions such as:","SUBTITLES- Analyses the audio and adds subtitles","NARRATION- Turns text into speech in a narration tone","VOICE- Turns text into speech based on your description","GRADE- Adds Color Effects based on your description","MUSIC- Adds stock music or machine learning generated music based on your description","SFX- Adds sound effects from places like FreeSound.org","VIDEO- Adds machine learning generated video based on your description","Magic Toolbox will use existing services like ChatGPT and ElevenLabs- and it'll be BYO API Key."]},{"l":"TestFlight","p":["Here's some of our projects still in active development, awaiting Mac App Store approval:"]},{"l":"Recall Toolbox","p":["Recall Toolbox is a Final Cut Pro Workflow Extension that acts as a Shared Pasteboard.","Anything that you can copy and paste in Final Cut Pro, Recall Toolbox can store."]},{"l":"Build for Final Cut Pro","p":["There are third party tools like the amazing Copy 'Em ​(for Mac), but they're not quite as visual as Recall Toolbox, and they're not built from the ground up for Final Cut Pro users.","Recall Toolbox works as a Final Cut Pro Workflow Extension, so it's window position gets saved with your custom Workspaces.","Whilst CommandPost has had a Shared Pasteboard & Pasteboard Buffers for years, it's really optimised for Control Surfaces. You can access the Shared Pasteboard from the CommandPost menubar, and it is super powerful, but it's not as visual - you just get text, not a fully customisable thumbnail.","Recall Toolbox feels like a natural extension to Final Cut Pro, with a similar look and feel to Final Cut Pro's Effects Browser."]},{"l":"iCloud Sync","p":["Recall Toolbox automatically syncs to ALL your devices on the same iCloud account automagically!"]},{"l":"iCloud Sharing","p":["You can share folders with other iCloud users, and control permissions. For example, you could have a \"read only\" folder that contains client logos for a current job!"]},{"l":"Free Apps","p":["Here's some of our free tools used by professional editors worldwide:"]},{"l":"CommandPost","p":["CommandPost is a free and open source macOS application that bridges between control surfaces and software that doesn’t support them natively, such as Apple’s Final Cut Pro and Adobe’s After Effects.","It’s been downloaded over 163 thousand times, and there are over 2.6 thousands members in our Facebook Community.","It’s been translated into Arabic, Bengali, Catalan, Chinese (Simplified & Traditional), Danish, Dutch, French, German, Greek, Hindi, Hungarian, Italian, Japanese, Korean, Malayalam, Norwegian, Panjabi/Punjabi, Polish, Portuguese, Russian, Spanish, Swedish, Ukrainian & Vietnamese by our awesome community.","It’s used by filmmakers, developers, scientists and macOS power users all over the world to seriously speed up mundane tasks through powerful and customisable automation tools.","For example, you can apply individual effects within Final Cut Pro or After Effects with the single tap of a button.","Powered by Lua(the same scripting language used by Blackmagic Fusion, Adobe Lightroom and even parts of Apple iOS), it's insanely customisable and powerful.","It runs natively on Apple Silicon and is fully compatible with Hammerspoon.","You can listen to Chris explain CommandPost on Final Cut Pro Radio Episode #57 and Episode #43."]},{"l":"User Quotes","p":["“ Titles to Keywords is a huge timesaver when editing complex scenes. Couldn’t live without it anymore. And directors love that every delivery of any line from any take is just one click away! ” Knut Hake- Editor on Netflix's Blood Red Sky","“ CommandPost and FCP are so intertwined on my day to day that I see them as one app! ” Marcos Castiel BFE- Editor on Netflix's Turn of the Tide","“ Command Post started as a FCPX utility but it goes further than that. You can use it to map almost any function to supported hardware devices to work with any app like a BMD Speed Editor and Avid Media Composer! ” Marc Bach- Editor & Colourist","“ Chris's support is the best you will find anywhere on the planet. He was proactive and able to implement features for me on the spot. 5 STAR product 5 STAR support. ControllerMate is what I used to use. CommandPost is faster and easier. ” Ross Batten- Senior Sound Designer (ProTools)","“ Search Console is like Spotlight on steroids. It can quickly find and execute any obscure command, NLE and OS-wide, fire up keyboard makros (scripts), and especially, find and place Effects and Effect Templates, directly onto selected clips in my FCP timeline. It constantly saves me clicks. ” Florian Duffe- Editor","“ CommandPost is so many things for so many people. For me it is a Final Cut Pro automation system that unlocks hidden features and uniquely supports advanced workflows. CommandPost’s secret weapon? Deep connections with the postproduction community which mean that it constantly improves as the needs of editors and post professionals evolve. ” Alex ‘4D’ Gollner- Motion Template Creator","“ Chris, you have no idea how helpful your Titles to Keywords toolbox has been on our latest production. Without the toolbox these 2-3 hour long timelines (around 900 keywords) would have been nearly impossible to tag with the FCP built in way. It's very long scenes with around 50 lines of text for all characters. ” Sam Pluemacher- Assistant Editor on Netflix's Blood Red Sky","“ As someone who doesn’t like clicking to do things, CommandPost makes my work much more likeable! ” Oli Frost- Editor","“ CommandPost supports my Loupedeck, Stream Deck and Razer devices with advanced Final Cut Pro integrations. Eliminating the need for multiple apps and reducing complexity. ” Sam Pluemacher- Assistant Editor on Netflix's Blood Red Sky","“ CommandPost is the first thing you should install If you like to tinker. This genius app extends Final Cut Pro in all kinds of ways, enabling advanced workflows, automation, and even integration with external hardware such as MIDI controllers. Recommended. ” Iain Anderson- Author of Final Cut Pro Efficient Editing"]},{"l":"Transfer Toolbox","p":["Transfer Toolbox allows you to convert Final Cut Pro (for Mac) libraries into Final Cut Pro (for iPad) projects!","You can now easily get from your Desktop to your iPad! Simply drag your existing Final Cut Pro library into the application's drop zone.","You should ensure your library only has a single event, and all project timecode starts at 00:00:00:00.","All Motion Content and Media should be contained within the Library.","If you have custom fonts on the Mac Final Cut Pro library, you should manually install them on the iPad before importing the project.","Transfer Toolbox requires Final Cut Pro 10.6.6 or later."]},{"l":"App Store","p":["Here's some of our products currently for sale on the Mac App Store:"]},{"l":"BRAW Toolbox","p":["BRAW Toolbox allows you to import Blackmagic RAW files directly into Final Cut Pro without transcoding.","No more waiting. No more transcoding. No more massive ProRes files.","Save hours of time, and terabytes of storage!","The BRAW Toolbox Workflow Extension allows you to prepare all of your footage prior to import. You can easily and quickly change all the RAW parameters, and copy and paste settings from different BRAW clips. You can even save and restore Presets that contain specific parameters, saving time for example, if you always use the same Gamut & Gamma.","Once imported into Final Cut Pro, you can still modify the RAW parameters at any time.","You can even keyframe the ISO, Exposure, Color Temp, Tint and Custom Gamma Controls!","BRAW Toolbox comes with a Metadata View that allows you to view every piece of BRAW Metadata directly within the Final Cut Pro Inspector.","There are automatic Decode Quality options for both HD and UltraHD projects, and you can also work at a low Decode Quality, then apply a \"Global Setting\" to force Full Quality prior to exporting - meaning you never have to worry about creating proxies for performance. BRAW Toolbox gives you complete freedom and flexibility.","You can also use the Workflow Extension to send your project/timeline to DaVinci Resolve for grading - all using BRAW files directly from the camera!","BRAW Toolbox requires Final Cut Pro 10.6.5 or later."]},{"l":"User Reviews","p":["This developer did what Apple Couldn't/Wouldn't This app is a great solution to a common problem Final Cut Pro users have: getting Blackmagic Raw footage into the app. At first it might seem like a bizarre workaround, but you only have to go through the process of setting it up once, and then you can easily import your Blackmagic footage right into FCP. Honestly, from that point on it works so incredibly well that I really struggle to understand why Apple has made it so difficult. Except it's not difficult, not anymore. This is great software: a small developer solving a problem that a big one (Apple) can't. That's innovation, my friends.","moosefuel – Feb 3, 2023 (Apple App Store Review)","The tool we have dreamed of is here. For lovers of Final Cut Pro who have struggled with the endless BRAW proxy XML loop, this is a dream come true. BRAW natively inside Final Cut. Controls for RAW adjustments at your fingertips. Is it the full Resolve interface? No, doesnt need to be, Between BRAW ToolBox and FCP, most edits can be done natively without ever having the leave the Final Cut NLE. If you shoot any BRAW camera, this is the best of both worlds if you live in the FCP ecosystem. Thank you latenightfilms team for this, its a huge step forward and a wonderful plugin.","Chasing Photography – May 16, 2023 (Apple App Store Review)","Perfect! Just perfect.","Viaswage – Feb 18, 2023 (Apple App Store Review)","Great! Love this! thank you!","NarimanGafurov – Feb 6, 2023 (Apple App Store Review)","UMMMMMM THANK YOU, YOU'RE A GENIUS I've needed this for years!!!!!! You are a genius and this is incredible!!! Thank you so much!!! No clue how BM never made this.","gordonfromvan – Feb 4, 2023 (Apple App Store Review)","I've been waiting for this! I can finally use my two Blackmagic cameras and shoot in BRAW. As a Final Cut Pro editor, I'm really excited. The app is working great! I really appreciate the team at LateNite for all the hard work it took to get this up and running. Well worth the money to be able to handle BRAW seamlessly. Scott_Hartman – Feb 2, 2023 (Apple App Store Review)","Boom! Such an amazing plugin and works fantastic! Grant Digital Sky – Feb 2, 2023 (Apple App Store Review)","Absolutely Amazing. Solves a massive problem and works beautifully! Jmurphy8503 – Jan 31, 2023 (Apple App Store Review)","The impossible made possible. Amazing to work natively with BRAW in my favourite editor. Thank you! MadMitch1993 – Jan 30, 2023 (Apple App Store Review)"]},{"l":"Gyroflow Toolbox","p":["Gyroflow Toolbox allows you to import Gyroflow Projects into Final Cut Pro.","Gyroflow is a free and open source third-party application that can stabilise your video by using motion data from a gyroscope and optionally an accelerometer. Modern cameras record that data internally (GoPro, Sony, Insta360 etc), and Gyroflow stabilizes the captured footage precisely by using them. It can also use gyro data from an external source (eg. from Betaflight blackbox).","Gyroflow Toolbox allows you to take the stabilised data from Gyroflow and use it within Final Cut Pro as an effect, so you don't have to export a ProRes from Gyroflow!","You can even use this in conjunction with BRAW Toolbox (also on the App Store), to stabilise Blackmagic RAW files!","None of this would be possible without the incredible Gyroflow project and the incredibly help and support from their main developer, AdrianEddy."]},{"i":"user-reviews-1","l":"User Reviews","p":["Nice product! Thank you Chris!","NarimanGafurov – Feb 6, 2023 (Apple App Store Review)","The Best Way to Stabilize Pro Res RAW I record both internally and externally with an Atomos Ninja, on my FX3 with the end goal of delivering HDR. I record internal to capture Gyroscopic data that my FX3 records. This allows me to Use GryoFlow, and Thus GryoFlow Toolbox to stabilize Pro Res RAW footage. This tool has made it possible, and works awesomely. I highly recommend this tool it will help immensely.","Tydar94 – Jan 27, 2023 (Apple App Store Review)"]},{"l":"Marker Toolbox","p":["Marker Toolbox allows you to import Vimeo CSV, Wipster CSV, Dropbox Replay JSON & Email Comments into Apple's Final Cut Pro via a handy Workflow Extension.","You can also OPTIONALLY use OpenAI's ChatGPT to help translate email comments into markers using your own personal OpenAI API key!","If you use Vimeo Review pages or Wipster to share video edits with clients to consolidate feedback, you can simply export a CSV file from Vimeo or Wipster, and drag it into the Workflow Extension to convert the comments into Markers within Final Cut Pro. It's fast and easy!","Dropbox Replay works exactly the same way, except Marker Toolbox will also import any drawn annotations!","Similar to Frame.io's Workflow Extension, the markers come in as a Compound Clip, that you can then \"break apart\" so that the markers are attached to the clips in your Primary Storyline, meaning that your clients comments stay in the correct position as you make revisions to the edit. For each marker, there's also a title, so that you can easily visually see the comments right in your Viewer - this is great if you need to export an edit with all your client feedback \"burnt\" into the export.","Replies and the date the comment was added can be included in the Marker names. It also takes \"resolved\" comments in Vimeo, Wipster & Dropbox Replay, and marks them as \"completed\" in Final Cut Pro!","You can also easily copy and paste client feedback from emails into the Workflow Extension. In most cases, you can use the \"Process Comments Locally\" button to use a custom-built algorithm that converts each line of text into a comment. However, you can also the power of OpenAI's ChatGPT to help translate more complicated feedback into markers. You can customise the ChatGPT prompt, and also pick the ChatGPT Model. You supply your own OpenAI API key, giving you full control.","This can be a MASSIVE time saver, as you can simply copy and paste a long list of email comments, and ChatGPT will do the work to convert them into easy-to-read Final Cut Pro markers, that you can then easily navigate via the Timeline Index.","Marker Toolbox requires Final Cut Pro 10.6.5 or later."]},{"i":"user-reviews-2","l":"User Reviews","p":["I’ve been absolutely flatout while working in Thailand. Wipsters has been been great, helping me manage projects and reviewers across four countries. Stoked Marker Toolbox can send Wipster notes straight into #fcpx","Alister Robbie via Twitter","Excellent addition to FCP This is a great tool. I have my clients make notes on Vimeo, and Marker Toolbox lets me download a .csv of those comments and create markers on the FCP project/timeline at the proper locations, with notes visible and that will follow the clips as I move them. Once downloaded and installed it's easy. Downloading the .csv and running it through Marker Toolbox and adding the Markers to the project/timeline takes less than a minute, then you're ready to go. Really great find!","Robert heinlein's son – May 31, 2023 (Apple App Store Review)","Amazing simple I wanted an app like this since I started editing. Now for the first time I can process the comments I get via an e-mail on an edit from the start and not, as I usualy do, begin at the end of the edit and work backwards.","Blazy – Apr 6, 2023 (Apple App Store Review)"]},{"l":"Discuss this page"}],[{"i":"new-to-final-cut-pro","l":"New to Final Cut Pro?","p":["If you're brand new to Final Cut Pro for Mac or Final Cut Pro for iPad- this is the place for you!"]},{"l":"Apple White Papers","p":["Here's a collection of official Apple White Papers to help people transition from Final Cut Pro 7 to Final Cut Pro X:","Final Cut Pro X for Final Cut Pro 7 Editors (October 2019)","Final Cut Pro X for Final Cut Pro 7 Editors (September 2011)"]},{"l":"Ripple Training","p":["Steve delivers a full 58 minute FCP class for beginners that includes the media for following along with him in FCP.","Download the media here."]},{"l":"Thomas Grove Carter","p":["Thomas Grove Carter is a commercials, music video and film editor who cuts out of Trim Editing in London. He's awesome.","He has an incredible YouTube series called FCP FTW that show bite-size examples of how to get the most out of Final Cut Pro."]},{"l":"Tyler Stalman","p":["Tyler Stalman has a great 22 minute video called, Getting Started with Final Cut Pro: Beginners Tutorial."]},{"l":"MotionVFX FCP Academy","p":["Get the best tips & tricks, step up your editing game, and unleash the full potential of your creativity."]},{"i":"cinematographers-guide-to-showreels-in-final-cut-pro","l":"Cinematographer's Guide to Showreels in Final Cut Pro","p":["Whether you're doing your own showreel or preparing the files to send to an editor, ACS Member and Certified Final Cut Pro Trainer, Lee Herbet explains step by step how to use Final Cut Pro to manage the process easily from a cinematographer's point of view.","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Cut on Final Cut Pro","p":["This page is dedicated to listing all the amazing projects cut on Final Cut Pro.","If there's something missing, please let us know."]},{"l":"Success Stories","p":["Luis Fonsi - Despacito ft. Daddy Yankee (2017) - 8,181,158,261 views on YouTube","Neighbours: Erinsborough High (2019) - Cut, Graded & Sound Mixed in FCPX","O Shaolin do Sertão (2016) - First Brazilian feature edited on Final Cut Pro X"]},{"i":"awards--nominations","l":"Awards & Nominations","p":["Autobiography (2022) - Venice Film Festival FIPRESCI Award for Best Film and World Film Festival of Bangkok for Best Technical Achievement in Editing - Carlo Francisco Manatad","Tina Mobil (2021) - Grimme Preis for best television series","Photocopier (2021) - 12 Festival Film Indonesia Citra Awards including Best Editing and Best Film","Parasite (2019) - Academy Award Nominee for Best Editing – Yang Jin-mo","The Girl with the Dragon Tattoo (2011) - Academy Award for Best Editing – Kirk Baxter & Angus Wall","The Social Network (2010) - Academy Award Winner for Best Editing – Kirk Baxter & Angus Wall","The Curious Case of Benjamin Button (2008) - Academy Award Nominee for Best Editing - Kirk Baxter & Angus Wall","No Country for Old Men (2007) - Academy Award Nominee for Best Editing – Roderick Jaynes","Cold Mountain (2003) - Academy Award Nominee for Best Editing – Walter Murch"]},{"l":"Filmmakers using Final Cut Pro","p":["Clayton Jacobson","Guy Pearce","Simon Wincer"]},{"l":"YouTubers using Final Cut Pro","p":["iJustine","Jonathan Morrison","Marques Brownlee"]},{"l":"Feature Films"},{"l":"Drama","p":["300 (2007)","500 Days of Summer (2009)","600 Miles (2015)","79 Parts (2016)","A Most Violent Year (2014)","A Serious Man (2009)","A Song Sung Blue (2023)","A Touch Of Sin (2013)","Amama (2015)","An Autumn Without Berlin (2015)","Antigang (2015)","Antigang 2 (2023)","Arini (2018)","Autobiography (2022)","Balls of Fury (2007)","Bem-vinda a Quixeramobim (2022)","Black Snake Moan (2006)","Blood & Gold (2023)","Blood Red Sky (2021)","Bokeh (2016)","Boszorkányház (2020)","Brick (2005)","Brothers' Nest (2018)","Budapest Heist (2020)","Burn After Reading (2008)","By the People: The Election of Barack Obama (2009)","Characterz (2016)","Chasing Molly (2019)","Cine Holliúdy 2: A Chibata Sideral (2018)","Cold Mountain (2003)","Corpse Bride (2005)","Courageous (2011)","Daisy Winters (2017)","Dantza (2018)","Dead Envy (2018)","Death Knot (2021)","Demi-soeurs (2018)","Dreamer: Inspired by a True Story (2005)","Eat Pray Love (2010)","El Hombre de las Mil Caras (2016)","Enchanted (2007)","Escape Room (2017)","Everything Else (2016)","Faith Based (2020)","Fire On The Plain (2022)","Flesh And Blood (2017)","Focus (2015)","Follow Me (2020)","Fou d'amour (2015)","Full Frontal (2002)","Gabriel (2007)","Gabriel (2018)","Gaia (2021)","Gamer (2009)","Geostorm (2017)","Goal of the Dead (2014)","Handia (2017)","Happy Endings (2005)","Happy Feet (2006)","Headlock / Against the Clock (2019)","HeartBreak (2019)","Hemingway & Gellhorn (2012)","Homecoming (2019)","In the Shadow of the Palms (2005)","Inland Empire (2006)","Intolerable Cruelty (2003)","Isi & Ossi (2020)","Jarhead (2005)","Jezebel (2019)","John Carter (2011)","John Carter (2012)","Just Let Go (2015)","L'Invitation (2021)","La Historia de Jan (2016)","La Horde (2009)","La isla del viento (2015)","La leyenda negra (2020)","La llum d'Elna (2017)","Let's Dance (2019)","Little Manhattan (2005)","Loreak (2014)","Luna (2017)","May the Devil Take You Two (2020)","Me and You and Everyone We Know (2005)","Minimalism: A Documentary About the Important Things (2015)","Monsters of Man (2020)","My Fair Lidy (2015)","Napoleon Dynamite (2004)","No Country for Old Men (2007)","O Brother, Where Art Thou? (2000)","O Shaolin do Sertão (2016)","Old Fashioned (2014)","One Night Stand (2021)","Only The River Flows (2023)","Open Water (2003)","Parasite (2019)","Photocopier (2021)","Psychosynthesis (2019)","Reign Over Me (2007)","Relativity (2019)","Ripples Of Life (2021)","Saturday's Warrior (2016)","Saved by Grace (2016)","Scare Zone (2009)","Shadows on the Road (2018)","Sky Captain and the World of Tomorrow (2004)","Sleep Has Her House (2017)","Super Size Me (2004)","Takaseem El Hob (2012)","Terror Inside (2008)","Tetro (2009)","The Banker (2020)","The Best Is Yet To Come (2020)","The Business of Christmas 2 (2021)","The Carousel Never Stops Turning (2017)","The Chosen (2015)","The Colony (2021)","The Curious Case of Benjamin Button (2008)","The Girl with the Dragon Tattoo (2011)","The Isle (2018)","The Ladykillers (2004)","The Last Queen (2022)","The Night Comes for Us (2018)","The Patrol (2013)","The Portait of a Nightmare (2020)","The ReVisitant (2019)","The Ring (2002)","The Rules of Attraction (2002)","The Science of Fictions (2019)","The Simpsons Movie (2007)","The Social Network (2010)","The Sunny Side Of The Street (2022)","The Three Investigators - Legacy of the dragon (2023)","The Touch (2005)","The Unknown Soldier (2017)","The Visitant (2014)","The Wild Goose Lake (2019)","The X-Files: I Want to Believe (2008)","Traitor (2008)","Twixt (2011)","Unhinged (2017)","Vazhiye (2022)","Vermelho Monet (2022)","Voice from the Stone (2016)","Well Wishes (2015)","What Happened, Miss Simone? (2015)","Where the Wild Things Are (2009)","Where The Wind Blows (2022)","Whiskey Tango Foxtrot (2016)","X-Men Origins: Wolverine (2009)","Young Detective Dee: Rise of the Sea Dragon (2013)","Youth Without Youth (2007)","Zodiac (2007)"]},{"l":"Documentary","p":["40 Years a Prisoner (2020)","Action Women (2020)","Autoluminescent: Rowland S. Howard (2011)","Becoming the Queen of the North (2022)","Blindsided (2006)","Ecco Homo Movie (2016)","Filmer le Chaos (2018)","Fragments of Truth (2018)","Hold Up, autopsie d'un braquage (2017)","In Bob We Trust (2013)","India's Space Odyssey (2021)","Juice WRLD: Into the Abyss (2021)","Keanu Reeves, messie pop (2022)","Killing the Shepherd (2021)","Kings of Crime - Season 1 (2017)","Kings of Crime - Season 2 (2018)","Le Mystère Jacques Audiard (2018)","Mystify: Michael Hutchence (2019)","Off The Tracks (2018)","Scènes de Crimes (2022)","Scramble the Seawolves (2018)","Sous les étoiles (2022)","Stephen King: Le mal nécessaire (2020)","The Making of “We Own The Night” (2008)","Voulez-vous rire avec moi ce soir? (2018)","Wild Amsterdam (2018)"]},{"l":"Television"},{"l":"Television Movies","p":["Tatort: Hackl (2023)","Tatort: Mord unter Misteln (2022)","Tatort: Dreams (2021)","Schwartz & Schwartz: Der Tod im Haus (2019)"]},{"l":"Television Series","p":["Apollo: Missions to the Moon (2019)","BBC Have I Got News For You (2020)","BBC News (2014)","Challenger Disaster: Lost Tapes (2016)","Conquistadores Adventum (2017)","Der Schatten (2023)","Detektif Soleh (2021)","Diana: In Her Own Words (2017)","Dogs Of Berlin (2018)","Drag Queens of London (2014)","George to the Rescue (2013)","J'ai tué mon mari (2021)","La Línea: Shadow of Narco (2020)","La Peste (2018)","Lazy Company (2013-2015)","Les Grands (2016-2019)","Leverage (2012)","Machine (2024)","Marianne (2019)","Matchday: Inside FC Barcelona (2019)","Missions (2017-2021)","Moah (2020)","O.J. Speaks: The Hidden Tapes (2015)","Paramedics: Emergency Response (2015)","Q: Into the Storm (2021)","Rebellion (2016)","Salvados (2019)","Sex on the Edge (2016)","Students on the Edge (2018)","T.A.N.K. (2016-2018)","The Hong Kong Affair (2013)","Tina Mobil (2021)","Trailer Park Boys (2012)","Trauma (2019)","Turn of the Tide (2023)"]},{"l":"Television Specials","p":["Bo Burnham: Inside (2021)","The Legend of Burnout Barry (2021)","Neighbours: Erinsborough High (2019)"]},{"i":"broadcast-news--sports","l":"Broadcast News & Sports","p":["MLR Weekly (longest running American Rugby show broadcast)","BBC World News - Click (comprehensive guide to all the latest gadgets, websites, games and computer industry news)"]},{"l":"Short Films","p":["Le Coffre (2023)","Dans les bois: L'orée (2023)","Hajimé (2021)","Goblin Spoon (2020)","Life After: A Story of Unexpected Friendships & Random Sh* tstorms (2020)","Thariode (2021)","EZK: Beyond the Walls (EZK: Au-dela des Murs) (2019)","Detour (2016)","Les vivants (2014)"]},{"l":"Online Series","p":["The Future of Everything (2023)"]},{"l":"Music Videos","p":["American Doubles - The Swell (2015)","Casey Donovan - The Villain (2017)","Cosmos Midnight - Mind Off (2017)","Crooked Colours - Flow (2017)","Dappled Cities - Stone Men (2017)","Gang Of Youths: The Deepest Sighs, the Frankest Shadows (2017)","Guy Pearce - What Makes You Think (2018)","Luis Fonsi - Despacito ft. Daddy Yankee (2017)","METTE - Mamas Eyes (2023)","Mura Masa - Move Me (2019)","Paolo Nutini - Iron Sky","Peking Duk: Let You Down (2017)","Rüfüs Du Sol - Be With You (2017)","STORMZY - VOSSI BOP (2019)","The Shoes - Time to Dance (2015)","Vera Blue - Like I Remember You (2019)"]},{"l":"Television Commercials","p":["Adidas - Golf","Adidas - Speed Factory","AIA - Australia","AIA - New Zealand","Airbnb - Strangers","Amnesty International - We have the will to win","Apple - Chase","Apple - Run Baby Run","Apple - Simple As That","Apple - The Greatest","Apple Music - Run This Town","Beats by Dre - Work in the Dark, Shine in the Light","Birds Eye - With Love","Discord - The Movie","Disney+ - Stories you'd expect, stories you wouldn't","FIFA - Champions Rise","Green & Blacks - Made of Nature","Hennessy - A New Further","Honda - The Other Side","KIA - Hidden Ideas","Malaria No More - Draw The Line Against Malaria","Mercedes - The Journey That Changed Everything","New York Times - Life Needs Truth","Nike - Tell Us Never","Nike - The Toughest Athletes","Penny - The Rift","Samsung - Awesome Is For Everyone","Volva - Favourite Things"]},{"i":"corporatebrand-spots","l":"Corporate/Brand Spots","p":["Melbourne International Comedy Festival (2023) - TAC - LOL Mobile","Melbourne International Comedy Festival (2023) - Mitsubishi Motors - Comedy Up Close","Melbourne International Comedy Festival (2023) - TAC - The Audition","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"FCP Creative Summit","p":["The Final Cut Pro Creative Summit dates and locations have now been confirmed.","It will take place November 6th to 8th at Apple Park & The Hyatt Regency Santa Clara.","Whether you are a trained professional or just starting your creative career, Apple has the software and tools you need to power your creative work. This unique event is where Apple power users and Final Cut Pro Professionals come together to learn and discuss their craft. We are excited to be back in Cupertino! The FCP Creative Summit features 2 full days of sessions in multiple tracks and a unique day at Apple!","You can find the evolving program here.","You can find a list of speakers here.","You can visit the official website here."]},{"l":"Official Press Release","p":["Here's FMC's official press release.","Cupertino, California (PRWEB) August 11, 2023 -- With immense anticipation and excitement, FMC, supported by Apple, proudly unveils the 2023 Final Cut Pro Creative Summit, which will take place on November 6, 7, and 8. The summit returns to Cupertino - a recognized hub of innovation - for the first time since 2019 and is set to be a momentous occasion. Building on the resounding success of last year's Final Cut Pro Summit roadshow, this eagerly-awaited event aims to foster collaboration and inspire boundless creativity in video editing.","The summit's kickoff allows attendees an unparalleled opportunity to discover the Apple campus and engage with the esteemed Apple team. This immersive journey offers participants the chance to acquire invaluable insights into the latest strides in Final Cut Pro on Mac and iPad, marking the exciting next phase in the expanded Final Cut Pro ecosystem.","The second and third days, hosted at the Hyatt Regency Santa Clara, offer a variety of immersive training sessions led by highly-experienced Apple Certified Trainers. Participants will traverse the intricate landscape of FCP software, exploring core features and vital plug-ins, mastering advanced compression and distribution techniques, and acquiring knowledge of audio and color correction best practices. Additionally, attendees will delve into compelling case studies, providing invaluable insights from leading industry specialists.","The summit will include an inspiring keynote address and exclusive sessions for FCP certification preparation, complementing the immersive training. Beyond gaining insights into industry trends and cutting-edge technologies, attendees will have the opportunity to expand their professional network and establish valuable connections, fostering an environment of collaboration and growth. The Final Cut Pro Creative Summit is engineered to catalyze transformation, equipping participants to magnify their skills, explore new dimensions of creativity, and create lasting professional relationships.","\"We're exhilarated to see the FCP Creative Summit making its triumphant return to Cupertino,\" shares Ben Kozuch, President and co-founder of Future Media Concepts. \"In this year's edition, we strive to reignite the excitement for learning and reconstruct the formidable connections within our FCP community.\"","Join us this November to celebrate the exciting revival of the FCP Creative Summit in Cupertino. Be part of this unmatched blend of learning and networking for a pass priced at $299. For additional information, please visit https://fcpcreativesummits.com/.","About FMC","Future Media Conferences, LLC is the leading producer of education-rich conferences for content creators in the US and internationally, bringing unique combined knowledge both in training content as well as all aspects of the production of virtual and in-person events. Some events include the Post|Production World, Visual Storytelling Conference, and Director of Photography Creative Conference at NAB Show in Las Vegas and NAB Show New York, Adobe Video World, and more. For a complete list of FMC’s conferences, visit futuremediaconferences.com.","Press Contact: Megan Belka (Event Manager) MeganB@FMCtraining.com","Jessica Cesario, FMC, 1 845-380-1487, Jessicac@fmctraining.com","SOURCE FMC"]},{"l":"Discuss this page"}],[{"l":"Open Letter","p":["On Tuesday 19th April 2022, a group of over 100 people in TV and film production worldwide sent an open letter to Tim Cook of Apple about Final Cut Pro.","They used the letter ask Apple to publicly stand by the use of Final Cut Pro - Apple’s video editing application for professionals - in TV and film industries worldwide.","It wasn’t a criticism of the Apple team developing and marketing Final Cut Pro. They have worked very hard for over a decade on making Final Cut Pro better and better. This open letter is aimed at the executives who set the priorities of the Final Cut Pro development team and the Apple managers whose policies limit the public marketing of Final Cut Pro to a couple of website updates a year and some mentions in Apple keynotes about how much faster Apple hardware is getting.","The letter’s signatories aim was to encourage Apple to make a new commitment to the professional TV and filmmaking industry. They believe that would potentially benefit filmmakers the world over regardless of their personal NLE preferences.","Competition is a positive. Apple has demonstrated a willingness to swing big. The very fact that they are not exclusively tethered to our industry allows them to try things others likely can’t. We hope you’ll support us in encouraging one of the heaviest hitters in media and technology to more forcefully push the boundaries of all of our tools.","They gathered some comments about Final Cut Pro and Apple:","Galliano Olivier, editor of ‘Marianne,’ a French TV drama series edited in Final Cut and distributed by Netflix says “In France, it is extremely difficult to get permission to edit TV with Final Cut Pro. You can’t use it without fighting producers, directors, post-production supervisors, sound editors, etc...”","Knut Hake BFS, editor of ‘Blood Red Sky,’ a feature film distributed by Netflix and edited using Final Cut Pro commented, “I think it would make a big difference for workflow consultants, systems integrators and third-party developers if there was a public Beta program for Final Cut Pro. Apple already do it for iOS, macOS and even Safari. It would make Final Cut more reliable and make it much easier for people to fit Final Cut into their plans for the future.”","Steven Sanders, editor in chief of of the Fox TV series ‘War of the Worlds’ season 3 said “The two main reasons why I am often not allowed to chose my favourite editing application, which is Final Cut Pro are: 1. Collaboration! Editing big productions needs collaboration. Different users have to be able to access the same library at the same time. There is no way around this. Avid Media Composer does it and even DaVinci Resolve does it. Apple still targets the single user. They have to change that. That will change everything. 2. Many professionals do not know how Final Cut works. They are afraid of it, even regard is as ‘iMovie Pro.’ I hear that all the time in my business. This perception really has to change.\"","Vanessa E. Brogna, assistant editor of ‘Bridgerton’ one of the top TV shows on Netflix commented: “Final Cut Pro is my favorite NLE. It's an absolute powerhouse and I feel the most creative and productive. Doing one step in Final Cut is about 3-4 in other NLEs. However, the real magic of Final Cut is its free form style of editing. Editing on a magnetic timeline is streamlined and smooth so I can still be organized, but I'm able to spend more time experimenting in the edit creatively and finesse my work.“","Jeff Asher, editor of ‘Big Sky,’ a US TV series on ABC and Hulu, says “As a TV editor, my job consists of being creative and being fast. Final Cut is the best NLE to achieve both of those goals. Now we need Apple on board with a roadmap and open dialogue with Film and TV creators to restore confidence lost over ten years ago.”"]},{"l":"Press"},{"l":"Before","p":["An open letter to Tim Cook about Final Cut Pro, signed by editors and post-production pros around the world (ProVideo Coalition)"]},{"i":"after","l":"After:","p":["Apple responds to the open letter to Tim Cook about Final Cut Pro (ProVideo Coalition)","Apple responds to open letter about improving usage and reputation of Final Cut Pro in filmmaking industry (9to5mac)","Apple Response to “Final Cut Pro in TV and Film” Open Letter (fcp.co)","Apple Responds to Open Letter Demanding Improvement of Final Cut Pro (PetaPixel)"]},{"i":"open-letter-19th-april-2022","l":"Open Letter (19th April 2022)","p":["Abbas Fahdel, Director of ‘Homeland: Iraq Year Zero,’ Feature Documentary, Iraq","Andrea Chignoli, Editor of ‘\"No\" directed by Pablo Larrain,’ Feature Film, Chile","Andreas Menn, Editor of ‘The Colony,’ Feature Film, Germany+Swiss","Andrew McKee BFE, Editor of ‘Eaten by Lions,’ Feature Film, UK","Azusa Yamazaki, Editor of ‘Drive My Car,’ Feature Film, Japan","Benjamin Ikes, Editor of ‘Buba,’ Feature Film, Germany","Benjamin Mercer F.C.E, Editor of ‘Unknown Soldier / Tuntematon Sotilas,’ Feature Film, Finland","Beverly Maguire BFE, Editor of ‘It’s Pony,’ Animated TV series, UK","Bo Li, Editor of ‘Plastic China,’ Feature Documentary, China","Brad Stoddard, Finish Editor / Colorist of ‘Sakura & Pearls: Healing From World War II ,’ Feature Documentary, US","Brett Ramsey, Editor of ‘In Pit Lane ,’ TV News, Australia","Brian Zwiener, Assistant Editor of ‘Terminator: Dark Fate,’ Feature Film, US","Carsten Behrendt, Editor of ‘Helden der Hauptstadt,’ Feature Documentary, Germany","Chad Tremblay, Editor of ‘Hunter Hunter,’ Feature Film, Canada","Chankanet Leksomboon, First Assistant Editor of ‘Bangkok Breaking,’ TV Drama Series, Thailand","Chris Black, Editor of ‘Fly the flag for Human Rights',’ TV Documentary Series, UK","Chris Hocking, Editor of ‘Neighbours: Erinsborough High,’ TV Limited Series/Mini Series, Australia","Christopher Darlington, Editor of ‘The Uncluttered Worlds of Christopher Pratt,’ Feature Documentary, Canada","Clark N Henderson, Assistant Editor of ‘Paramedics: Emergency Response,’ TV Factual Series, Canada","Cris Mertens, Editor of ‘Young Justice: Phantoms,’ Animated Series, US","Daniel Rakete Siegel, Director of ‘Schock (WT),’ Feature Film, Germany","David Maria Vogel BFS, First Assistant Editor of ‘The Colony,’ Feature Film, Germany/Switzerland","David Peterson, Editor of ‘Bluey,’ TV Animated Series, Australia","David Wieching BFS, Editor of ‘Schock,’ Feature Film, Germany","Dayyan Eng, Editor of ‘Wished,’ Feature Film, China","Dear Tim Cook,","Debby Germino, Editor of ‘Genius,’ TV Drama Series, US","Dimitri Amar, Editor of ‘Marianne,’ TV Drama Series, France","Dirk Grau, Editor of ‘Charite II ,’ TV Drama Series, Germany","Fabien Leroy, Editor of ‘Graines d'étoiles, 5 ans après,’ TV Documentary Series, France","Fernanda Tornaghi, Editor of ‘Girl in the Picture,’ Feature Documentary, US","Final Cut Pro is a wonderful application used by many YouTubers, education and small business content creators worldwide. We know why it is successful. It is liberating, efficient and fun to work with. But, unfortunately in professional film and TV, editors who use Final Cut Pro are a tiny minority.","Florian Duffe, BFS, Editor of ‘Tatort: Dreams,’ TV Movie, Germany","Floris Kotze (S.A.G.E), Editor of ‘Carte Blanche,’ TV Documentary Series, South Africa","Fortis Yen, Editor of ‘Adventure Life,’ TV Factual Series, China","Gabriel Rhodes, Editor of ‘Time,’ Feature Documentary, US","Galliano Olivier, Editor of ‘Marianne,’ TV Drama Series, France","Gladys Jimenez, Editor of ‘Red table talk,’ Talk show, US","Gregory Lynch Jr, Director of ‘Stro: The Michael D'Asaro Story,’ Feature Documentary, US","Habiba Laout, Editor of ‘Kleine Germanen,’ Feature Documentary, Germany","Harin Paesongthai, Editor of ‘Bangkok Breaking,’ TV Drama Series, Thailand","Helgi Thor, Editor of ‘Cine Holliúdy 2: A Chibata Sideral ,’ Feature Film, Brazil","Howard Silver , Editor of ‘Looking West: China’s New Generation,’ TV Documentary Series, US","Ian Hinter, Editor of ‘BBC News,’ TV News, UK","If Apple renewed its public commitment to the professional filmmaking industry and its visionary product, we believe an increasing number of editors would discover the joys of using Final Cut Pro.","It’s wonderful that Apple TV+ has become the first streaming platform to have a Best Picture Oscar winner with CODA, but it’s disappointing to know that Final Cut Pro is so unlikely to have been a possible choice as the film’s editing app.","Jan Ruschke, Editor of ‘Die Ibiza Affäre,’ TV Drama Series, Germany","Jeanine - SAGE, Editor of ‘The Odyssey,’ TV Factual Series, South Africa","Jeff Asher, Editor of ‘Big Sky,’ TV Drama Series, US","Jenson Tay Yi, Assistant Editor of ‘Ripples of Life,’ Feature Film, China","Jessica Houston, Producer/Editor of ‘Rockhaven: a Sanctuary From Glendale’s Past,’ TV Documentary, US","Jon Einarsson Gustafsson, Director of ‘Wrath of Gods,’ Feature Documentary, Iceland","Jonny Lewis, Director of ‘Graham Boyd: A Life In Colour,’ Feature Documentary, UK","Josh Beal. ACE, Editor of ‘Counterpart,’ TV Drama Series, US","Kafai Cheung, Editor of ‘IP Man, IP Man 2, IP Man 3, IP Man 4,’ Feature Films, Hong Kong, China","Karien van Biljon, Editor of ‘On Safari,’ TV Factual Series, South Africa","Kevin Luk, Editor of ‘The Legend of Burnout Barry,’ TV Limited Series/Mini Series, Australia","Kilian von Keyserlingk (BFS), Editor of ‘Kilian von Keyserlingk,’ TV Limited Series/Mini Series, Germany","Kilian von Keyserlingk BFS, Editor of ‘Blackout,’ TV Limited Series/Mini Series, Germany","Knut Hake BFS, Editor of ‘Blood Red Sky,’ Feature Film, Germany","Lau Kok Rui, Director of ‘The Sunny Side of the Street,’ Feature Film, Hong Kong","Lee Chatametikool , Editor of ‘Memoria,’ Feature Film, Colombia","Leonardo Franke, BFS, Editor of ‘Der Bayernboss, ,’ TV Documentary Series, Germany","Liwen Nien, Editor of ‘Aqua Challenge ,’ TV Factual Series, Taiwan","Liwen Nien, Editor of ‘AquaChallenge ,’ TV Factual Series, Taiwan","Louis Mathews, Editor of ‘Stephen King : A necessary evil,’ Feature Documentary, France","Marc Hofmeister, Editor of ‘Sløborn Season 1 & 2,’ TV Drama Series, Germany","Marcos Castiel BFE, Editor of ‘Glória ,’ TV Drama Series, Portugal","Maria Gans, Editor of ‘Bibi und Tina - Einfach Anders ,’ Feature Film, Germany","Martijn Rondel, Editor of ‘Geluk op Wilen,’ TV Limited Series/Mini Series, Netherlands","Martin Gosset, Post-Production Supervisor of ‘La beauté cachée des laids,’ TV Documentary Series, France","Martin Reimers, Editor of ‘Defender of the Faith,’ Feature Documentary, Germany","Martin Wunschick, BFS, Editor of ‘Sachertorte,’ Feature Film, Austria","Matthew Alson Thornbury, Editor of ‘Eye Opener TV,’ TV News, US","Matthieu Laclau, Editor of ‘A Touch of Sin,’ Feature Film, China","Mauricio Lleras, Editor of ‘The Red Tree,’ Feature Film, Colombia","Michael Yanovich, ACE, Editor of ‘Another Girl,’ Feature Film, US","Mike Matzdorff, Editor of ‘The Shrinking of Treehorn,’ Animated Feature Film, US","Nathalie Sanchez, Editor of ‘La forêt de quinconces ,’ Feature Film, France","Nose Chan, Editor of ‘Suk Suk,’ Feature Film, Hong Kong","Oliver Gieth, Editor of ‘Sankt Maik,’ TV Comedy Series, Germany","Oliver Holtkamp , Editor of ‘Diego Maradona - Was he murdered?,’ Feature Documentary, Germany","Patricia Rommel, Editor of ‘The Lives of Others,’ Feature Film, Germany","Phuttiphong Aroonpheng, Director of ‘Morrison,’ Feature Film, Thailand","PS: This letter is not intended as a criticism of the huge amount of hard work done by the Final Cut team over the years. We are asking Apple to change the policies that they work under.","Ray Liou, online editor of ‘Qi yu ren sheng,’ TV Factual Series, China","Rees Dale, Director of ‘Aazadi (freedom),’ Feature Documentary, Germany","Riffaud Richard, Editor of ‘Cobweb,’ Feature Film, US","Robbert-Jan van der Does, Cinematographer/VFX editor of ‘Welkom in de jaren ‘20 en ‘30,’ TV Comedy Series, the Netherlands","Romain Imbert, Assistant Editor of ‘Parallels,’ TV Drama Series, France","Ryan Malone IATSE 891, Editor of ‘Paramedics: Emergency Response,’ TV Documentary Series, Canada","Sam Mestman, Workflow Architect of ‘Focus,’ Feature Film, US","Sam Pluemacher , First Assistant Editor of ‘Blood Red Sky,’ Feature Film, Germany","Sandro Aguilar, Director of ‘Mariphasa,’ Feature Film, Portugal","Sascha Gerlach, BFS, Editor of ‘Die Känguru-Verschwörung,’ Feature Film, Germany","Scott Markowitz, Lead Editor of ‘Restaurant:Impossible,’ TV Drama Series, US","Sebastian Leitner, Editor of ‘Female Voice of Afghanistan,’ TV Documentary Series, Germany","Sebastian Riezler BFS, Editor of ‘TerraX - The assassination of Julius Caesar,’ TV Documentary Series, Germany","Shahin Shokoui, Editor of ‘MTV Unplugged - Marius Müller Westernhagen,’ TV Music Concert, Germany","Signed,","Stefan Kobe, Editor of ‘Dogs of Berlin/ TKKG/ Kundschafter des Friedens,’ Feature Film, Germany","Stephen Nahorniak, Editor of ‘Open Hous,’ TV Reality, TV Documentary, TV Non-Fiction, US","Steven Moyer, Editor of ‘La Leyenda Negra,’ Feature Film, US","Steven Sanders, editor in chief, Editor of ‘War of the Worlds S3,’ TV Drama Series, UK","Tabone Dorian, Editor of ‘Parallel,’ TV Drama Series, France","Tanneguy O'Meara, Editor of ‘Gerard Depardieu : Mon Reve Ouzbek,’ Feature Documentary, France","Thank you,","Thunchanok Suthanintr , Editor of ‘One Night In Bangkok,’ Feature Film, Thailand","Todd Vaziri, Visual Effects Artist on ‘Transformers,’ Feature Film, US","Tom Hsinming Lin, Editor of ‘Summer Blur (Hannan xia ri (2020)),’ Feature Film, China","Tom Thistlethwaite, Editor of ‘Nature and Us: A History through Art,’ TV Factual Series, UK","Vanessa E. Brogna, Assistant Editor of ‘Bridgerton,’ TV Drama Series, US","We also hope to see Apple ensuring that improved Pro Apps support is widely available and that Final Cut Pro can also be bought through current industry suppliers. This is is essential for big productions to accept Final Cut Pro as legitimate.","We also think it’s incredible that some of us still can’t choose it to do our work. Work that could easily include productions for your very own Apple TV+ service.","We are professionals working in Hollywood and other high-profile movie and TV markets all over the world. We are excited by Final Cut Pro. We think that it is the biggest leap forward in editing technology since the move to digital. We think it’s incredible.","We ask Apple to promote Final Cut Pro publicly and add the few remaining features that our industry has consistently stated are needed.","We hope you will encourage our industry to see Final Cut Pro as a professional choice for editors of future award-winning TV shows and movies, and for millions more editors all over the world.","We hope you will start showing that Apple aims to make Final Cut Pro the best application for editing TV and movies. We believe that this could lead to a Pro Apps renaissance as pioneering as your amazing M1 Max MacBook Pros and the M1 Ultra Mac Studio.","We the undersigned support the points made in the following open letter sent to Tim Cook of Apple:","We welcome your forthcoming brand-new FCP Certification exams. We need more experienced film and TV production crew members who also know how to use Final Cut Pro.","We'd love to see Apple publicly support and certify the suppliers of the third-party products and services we use to integrate Final Cut Pro into industry-standard workflows.","Weerapat Tembundit, Editor of ‘Bangkok Breaking,’ TV Drama Series, Thailand","William Hohauser, Editor of ‘Uncovering The Naked City,’ Documentary, US","Yann-Shan Tsai, Editor of ‘Nina Wu,’ Feature Film, Taiwan","Ye Ruchang, Editor of ‘The Wandering Earth,’ Feature Film, China","Yu Boyang, Editor of ‘Detective Dee 2,’ Feature Film, China","Yuval Orr, Editor of ‘Skin- Oscar winner for short film,’ Short, US","Zhang Zhao, Editor of ‘The Best Is Yet To Come,’ Feature Documentary, China"]},{"l":"Discuss this page"}],[{"l":"Wish List","p":["This page is dedicated to keeping track of Final Cut Pro feature requests, via our GitHub issues site.","To submit a new feature request, simply sign up for a free GitHub account and post an issue here.","GitHub is a safe and secure developers platform used by over 73 million users worldwide.","We also keep track of the most popular feature requests, based on the amount of reactions the issues get.","In general, whenever posting a new feature request to GitHub, we also submit feedback directly to Apple via Feedback Assistant, and make a note of the Feedback Assistant ID in the issue.","You can also send feedback directly to the Final Cut Pro team here, although unlike Feedback Assistant you can't track your request or add additional information - so we generally recommend you use Feedback Assistant instead.","Richard Taylor also maintains a list of 101+ Requests for Final Cut Pro.","Create a free GitHub account then click here!"]},{"l":"Most Popular","p":["[Final Cut Pro (for iPad) v1.0.1] Add support for Custom Fonts (June 18, 2023)","[Final Cut Pro for iPad] Allow customisation of project start timecode (June 18, 2023)","Ability to Lock/Unlock a Project (Timeline) (June 18, 2023)","Ability to set linear keyframes to default (July 1, 2023)","Adjustable Storyline Parameters (June 1, 2023)","Audio Mixer with Master Volume Control (May 31, 2023)","Being in Transformation/Crop/Distort mode shouldn't disable the skimmer (August 24, 2022)","Better Keyframe Options (June 1, 2023)","Browser Playhead skimmer visibility (May 30, 2023)","Clip Logger (May 31, 2023)","Customisable Match Color & Balance Color Parameters (June 1, 2023)","Dynamic Keyword shortcuts to change per project (June 24, 2023)","Effects, Titles & Transitions Browser Improvements & In-App Purchases (June 1, 2023)","Expand Compound Clips in Timeline (June 1, 2023)","Here's a list of the 30 most popular Final Cut Pro feature requests:","Improve AV Output (April 6, 2023)","Motion Round-tripping (May 31, 2023)","Native AAF Export (June 8, 2023)","Native ARRIRAW Support (June 8, 2023)","Native Blackmagic RAW Support (June 1, 2023)","Pasteboard Manager & Pasteboard History (June 1, 2023)","Project Playback/Scrubbing in Browser (May 31, 2023)","Reveal in Browser with detached Audio/Video (May 19, 2022)","Robust Custom Categorisation and Management of Motion Templates (June 8, 2023)","Robust Relinking Options (June 8, 2023)","Scene Cut Detect (June 12, 2023)","Scrolling Timeline (May 31, 2023)","The above list is pulled from our GitHub issues site.","Transcription and Text-Based Editing (June 7, 2023)"]},{"l":"Recently Added","p":["[Final Cut Pro (for iPad) v1.0.1] Add support for Custom Fonts (June 18, 2023)","[Final Cut Pro for iPad] Allow customisation of project start timecode (June 18, 2023)","Ability to Lock/Unlock a Project (Timeline) (June 18, 2023)","Ability to set linear keyframes to default (July 1, 2023)","Adjustable Storyline Parameters (June 1, 2023)","Audio Mixer with Master Volume Control (May 31, 2023)","Being in Transformation/Crop/Distort mode shouldn't disable the skimmer (August 24, 2022)","Better Keyframe Options (June 1, 2023)","Browser Playhead skimmer visibility (May 30, 2023)","Clip Logger (May 31, 2023)","Customisable Match Color & Balance Color Parameters (June 1, 2023)","Dynamic Keyword shortcuts to change per project (June 24, 2023)","Effects, Titles & Transitions Browser Improvements & In-App Purchases (June 1, 2023)","Expand Compound Clips in Timeline (June 1, 2023)","Here's a list of the 30 most recently added Final Cut Pro feature requests:","Improve AV Output (April 6, 2023)","Motion Round-tripping (May 31, 2023)","Native AAF Export (June 8, 2023)","Native ARRIRAW Support (June 8, 2023)","Native Blackmagic RAW Support (June 1, 2023)","Pasteboard Manager & Pasteboard History (June 1, 2023)","Project Playback/Scrubbing in Browser (May 31, 2023)","Reveal in Browser with detached Audio/Video (May 19, 2022)","Robust Custom Categorisation and Management of Motion Templates (June 8, 2023)","Robust Relinking Options (June 8, 2023)","Scene Cut Detect (June 12, 2023)","Scrolling Timeline (May 31, 2023)","The above list is pulled from our GitHub issues site.","Transcription and Text-Based Editing (June 7, 2023)","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Bug Tracker","p":["This page is dedicated to keeping track of the latest Final Cut Pro bugs and issues.","Final Cut Pro 10.6.8 has been released on the Mac App Store!","If you're currently using Final Cut Pro 10.6.6 or earlier we recommend sticking with that for the time being.","However, if you're using Final Cut Pro 10.6.7 we recommend updating, as it resolves some issues with the Viewer going black and various crashes.","You can learn more about the issues in Final Cut Pro 10.6.7 here.","Additionally, Final Cut Pro 10.6.7 and Final Cut Pro 10.6.8 use a newer Library format than Final Cut Pro 1.1 (for iPad).","This means that if you want to use Transfer Toolbox to go from Mac to iPad, you should keep using Final Cut Pro 10.6.6 (for Mac).","Last Updated: 2nd August 2023","We keep track of these bugs via our GitHub issues site.","GitHub is a safe and secure developers platform used by over 73 million users worldwide.","To submit a new bug report, simply sign up for a free GitHub account and post an issue here.","If you'd prefer not to use GitHub, then you can always email us your bug report: support@latenitefilms.com","Whenever posting a new bug/issue to GitHub, we also submit feedback directly to Apple via Feedback Assistant.","You can also send feedback directly to the Final Cut Pro team via their Feedback Form, however, unlike Feedback Assistant you can't track your request or add additional information after submitting, nor can you have a discussion with the Apple team via the comments - so we generally recommend you use Feedback Assistant as well."]},{"l":"Finding Crash Logs","p":["You can find previous crash logs in this folder:","~/Library/Logs/DiagnosticReports/","You can find your user library by holding down OPTION when you click the Go menubar item from Finder.","Because crash logs are really large, the easiest way to share them on GitHub (and with Apple via feedback) is via a GitHub Gist."]},{"l":"Third Party Software","p":["It's important to note that since Final Cut Pro 10.6.6 Apple has dropped FxPlug3 support.","When the effect or look you want to achieve can't be created with the filters or generators provided with Final Cut Pro or Motion, the FxPlug software development kit (SDK) allows you to write your own custom visual effects.","FxPlug is a compact, powerful image-processing plug-in architecture that lets you create unique, hardware-accelerated or CPU-based effects plug-ins with customized UI and onscreen controls.","In Final Cut Pro 10.6.5 and earlier, FxPlug3 plugins ran \"inside\" Final Cut Pro, and a bad plugin could crash Final Cut Pro.","However, since Final Cut Pro 10.6.6, only FxPlug4 is supported, and all FxPlug4 plugins are run \"out of process\" - meaning they're effectively their own application, and if they crash, Final Cut Pro doesn't.","Generally speaking if a FxPlug4 plugin crashes, then Final Cut Pro will just try restart it, and if it crashes 5 times or so, then it'll display the \"this plugin is not responding\" message.","All Workflow Extensions also run out of process.","For example, you can see all the different processes in Activity Monitor:","If you manually try and force quit a process, you'll see Final Cut Pro start it up again when needed.","What this means is that since Final Cut Pro 10.6.6, if Final Cut Pro crashes, it's NOT a third party FxPlug4 effect or a Workflow Extension - it's something in Apple's own code, and there's nothing third party developers can do about it, so there's no point emailing FxFactory, CoreMelt, MotionVFX, etc. to complain.","Create a free GitHub account then click here!"]},{"i":"final-cut-pro-1068","l":"Final Cut Pro 10.6.8","p":["Here's a list of the 30 most recently added Final Cut Pro 10.6.8 bug reports:","Phantom Clip Skimming (August 11, 2023)","\uD83E\uDDF5 Non-reproducible Final Cut Pro 10.6.8 Crashes (August 7, 2023)","Crash when right clicking on library (August 6, 2023)","Command Set Import should be limited to .commandset files (August 5, 2023)","Crashed after creating transition (August 4, 2023)","In specific and reproductible case, font variation is not saved in the project (after quit/reopen) (July 24, 2023)","Impossible to change font variation (bold, italic...) (July 24, 2023)","Final Cut Pro ignores Opacity of 0% in Motion Template (July 20, 2023)","The above list is pulled from our GitHub issues site."]},{"i":"final-cut-pro-1067","l":"Final Cut Pro 10.6.7","p":["\uD83E\uDDF5 Final Cut Pro 10.6.7 generally unreliable and buggy (July 23, 2023)","10.6.7 Random Beach Balls After Working A While (July 26, 2023)","10.6.7 Runaway FCP Processes (July 28, 2023)","Changing Color Adjustments Sliders via Accessibility API do not update correctly (June 15, 2023)","Crash after adding Title to Project/Timeline & Black Viewer (July 27, 2023)","Crashed when pasted text in text field of Centered Title (July 24, 2023)","Custom Export Destinations missing after update (July 20, 2023)","Editing projects with 4K (or larger) resolution is not recommended on this computer. You may experience performance issues. (July 25, 2023)","FCP crash during XML import (June 27, 2023)","Final Cut Pro 10.6.7 crash on launch (July 24, 2023)","Here's a list of the 30 most recently added Final Cut Pro 10.6.7 bug reports.","Imported iMovie picture in picture border and drop shadow does not rotate with picture (June 19, 2023)","Renders being lost/missing after restart (April 23, 2019)","Retiming in secondary timeline borks the primary timeline (July 30, 2023)","Some 4K H264 10bit 422 Footage is blurry when paused on M1 Ultra Mac Studios (July 21, 2023)","The above list is pulled from our GitHub issues site.","These bugs will eventually be migration to the 10.6.8 list once confirmed."]},{"l":"Most Popular","p":[".MP4 Audio Click/Pop Issue (June 6, 2023)","\uD83E\uDDF5 Final Cut Pro 10.6.7 generally unreliable and buggy (July 23, 2023)","\uD83E\uDDF5 Non-reproducible Final Cut Pro 10.6.8 Crashes (August 7, 2023)","10-bit H.264 black clips and timeline export failure with certain formats (June 1, 2023)","10.6.7 Random Beach Balls After Working A While (July 26, 2023)","10.6.7 Runaway FCP Processes (July 28, 2023)","Audio Presets don't migrate from earlier versions to v10.6.6 (May 27, 2023)","Changing Color Adjustments Sliders via Accessibility API do not update correctly (June 15, 2023)","Command Set Import should be limited to .commandset files (August 5, 2023)","Crash after adding Title to Project/Timeline & Black Viewer (July 27, 2023)","Crash when right clicking on library (August 6, 2023)","Crashed after creating transition (August 4, 2023)","Crashed when pasted text in text field of Centered Title (July 24, 2023)","Custom Export Destinations missing after update (July 20, 2023)","Editing projects with 4K (or larger) resolution is not recommended on this computer. You may experience performance issues. (July 25, 2023)","FCP crash during XML import (June 27, 2023)","FCP incorrect frame order on playback or export if retimed compound clip contains trim or through edits (May 31, 2023)","FCP intermittent brightness fluctuation on Apple Silicon during playback of Sony SLog3 XAVC-L MXF (May 31, 2023)","FCP video noise reduction produces incorrect frame cadence on retimed rate conformed clip (May 31, 2023)","FCPXML v1.11 doesn't support Soundtracks (May 28, 2023)","Final Cut Pro 10.6.7 crash on launch (July 24, 2023)","Final Cut Pro ignores Opacity of 0% in Motion Template (July 20, 2023)","Generator with Effect doesn't update correctly during playback (June 15, 2023)","Here's a list of the 30 most popular Final Cut Pro bug reports:","Imported iMovie picture in picture border and drop shadow does not rotate with picture (June 19, 2023)","Impossible to change font variation (bold, italic...) (July 24, 2023)","In specific and reproductible case, font variation is not saved in the project (after quit/reopen) (July 24, 2023)","Motion 5.6.5 Text Sequencing Direction Bug (August 8, 2023)","Phantom Clip Skimming (August 11, 2023)","Retiming in secondary timeline borks the primary timeline (July 30, 2023)","Some 4K H264 10bit 422 Footage is blurry when paused on M1 Ultra Mac Studios (July 21, 2023)","The above list is pulled from our GitHub issues site."]},{"l":"Recently Added","p":[".MP4 Audio Click/Pop Issue (June 6, 2023)","\uD83E\uDDF5 Final Cut Pro 10.6.7 generally unreliable and buggy (July 23, 2023)","\uD83E\uDDF5 Non-reproducible Final Cut Pro 10.6.8 Crashes (August 7, 2023)","10-bit H.264 black clips and timeline export failure with certain formats (June 1, 2023)","10.6.7 Random Beach Balls After Working A While (July 26, 2023)","10.6.7 Runaway FCP Processes (July 28, 2023)","Audio Presets don't migrate from earlier versions to v10.6.6 (May 27, 2023)","Changing Color Adjustments Sliders via Accessibility API do not update correctly (June 15, 2023)","Command Set Import should be limited to .commandset files (August 5, 2023)","Crash after adding Title to Project/Timeline & Black Viewer (July 27, 2023)","Crash when right clicking on library (August 6, 2023)","Crashed after creating transition (August 4, 2023)","Crashed when pasted text in text field of Centered Title (July 24, 2023)","Custom Export Destinations missing after update (July 20, 2023)","Editing projects with 4K (or larger) resolution is not recommended on this computer. You may experience performance issues. (July 25, 2023)","FCP crash during XML import (June 27, 2023)","FCP incorrect frame order on playback or export if retimed compound clip contains trim or through edits (May 31, 2023)","FCP intermittent brightness fluctuation on Apple Silicon during playback of Sony SLog3 XAVC-L MXF (May 31, 2023)","FCP video noise reduction produces incorrect frame cadence on retimed rate conformed clip (May 31, 2023)","FCPXML v1.11 doesn't support Soundtracks (May 28, 2023)","Final Cut Pro 10.6.7 crash on launch (July 24, 2023)","Final Cut Pro ignores Opacity of 0% in Motion Template (July 20, 2023)","Generator with Effect doesn't update correctly during playback (June 15, 2023)","Here's a list of the 30 most recently added Final Cut Pro bug reports:","Imported iMovie picture in picture border and drop shadow does not rotate with picture (June 19, 2023)","Impossible to change font variation (bold, italic...) (July 24, 2023)","In specific and reproductible case, font variation is not saved in the project (after quit/reopen) (July 24, 2023)","Motion 5.6.5 Text Sequencing Direction Bug (August 8, 2023)","Phantom Clip Skimming (August 11, 2023)","Retiming in secondary timeline borks the primary timeline (July 30, 2023)","Some 4K H264 10bit 422 Footage is blurry when paused on M1 Ultra Mac Studios (July 21, 2023)","The above list is pulled from our GitHub issues site.","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Troubleshooting","p":["This page is dedicated to getting help and support for Final Cut Pro.","You can also ask members of the FCP Cafe community for help on our Discussions page."]},{"l":"Apple Support","p":["You can visit the official Final Cut Pro support page here."]},{"i":"fcpxtv","l":"FCPX.TV","p":["Richard Taylor has some detailed troubleshooting steps on his website.","Something missing? Make a suggestion!"]},{"l":"Discuss this page"}],[{"l":"Frequently Asked Questions","p":["This page is dedicated to answering the most common questions about Apple's Final Cut Pro.","You can use the Search Tool at the top right of this page to search the FAQ.","Something missing or have a question? Learn more here!"]},{"l":"A"},{"i":"animations---overview","l":"Animations - Overview","p":["Final Cut Pro is a robust tool that allows for a variety of animations, both simple and complex. Here's an overview of the types of animations you can create in Final Cut Pro:","Text and Titles: Final Cut Pro has a comprehensive set of tools for creating animated text and titles. You can animate text to fly in, fade in, spin, and much more, and control exactly when and how these animations happen.","Transitions: You can create animated transitions between clips. This could be as simple as a cross dissolve, or something more complex like a 3D cube spin or page peel.","Keyframe Animations: You can animate virtually any visual aspect of a video clip or effect using keyframes. Keyframes allow you to set specific values for certain parameters (like position, scale, or opacity) at specific points in time. Final Cut Pro then animates the change in these parameters over time.","Effects and Filters: Final Cut Pro includes a variety of effects and filters that can be animated, like blurs, color changes, distortions, and more. see also Effects.","Motion Paths: You can animate objects to move along a specific path over time.","3D Animations: Although Final Cut Pro doesn't include full 3D modeling tools, it does allow you to create some 3D animations. For example, you can animate 2D images or text in 3D space.","Animations with Motion: If you need more advanced animation capabilities, you can use Apple's Motion software, which integrates seamlessly with Final Cut Pro. Motion allows for more complex animations, including particle systems, replicators, and much more.","Remember, while Final Cut Pro offers a lot of animation capabilities, it's primarily a video editing tool. If you're looking to create more complex animations or motion graphics, you might want to consider using a tool that's specifically designed for animation, like Adobe After Effects or Apple's Motion."]},{"i":"audio-editing---do-i-need-a-separate-app","l":"Audio Editing - Do I need a separate App?","p":["No, you can do complex editing in Final Cut Pro.","Some people have even cut and mixed entire broadcast television shows in Final Cut Pro."]},{"i":"audio-levels---how-to-handle","l":"Audio Levels - How to handle?","p":["You can learn more here."]},{"l":"B"},{"i":"backups---how-to-be-safe","l":"Backups - How to be safe?","p":["Also, keep in mind that Final Cut Pro libraries might only contain references to your media files if you're keeping your media external to the library, so it's important to also back up your media files.","Backing up your Final Cut Pro project files is crucial to prevent losing your work. Here are a few ways you can do this:","Before you perform any major edits or changes to a project, it's a good idea to create a backup. That way, if something goes wrong, you can go back to the backup version.","Cloud Storage: You can also use a cloud storage service like iCloud, Google Drive, or Dropbox for backups. Note that video files can be quite large, and you'll need enough storage space in your cloud service to accommodate them.","Duplicate Libraries: To manually back up your work, you can duplicate your library in Finder and zip it. - as long as you store all Media outside the library.(see below)","External Drive: You can also manually copy the library to an external hard drive or another secure location. Simply drag the library file in Finder to your backup location.","go to Library Properties > Storage Locations > Modify Settings, then","go to settings > import > leave files in place. It's mandatory to check this setting from time to time.","keeping your Media outside the library:","leave Backups in Final Cut Backups. That's in Movies/Final Cut Backups. If your Library file is on your desktop: route the Backups folder to external storage.","leave Motion Content in Motion templates folder","Library Backups: Final Cut Pro automatically creates backups of your libraries. These backups are stored in a folder named Final Cut Backups in your Movies folder. You can adjust how often these backups are made using CommandPost.","Remember to keep your backup drives or locations secure and check them regularly to make sure the backups are being performed correctly.","route Cache into a folder of your choice. This folder can be deleted at any time to free up disk-space.","route Media into a folder of your choice. This creates Final Cut Original, ...Optimized, and Proxy Media Folders eventually. Only the ...Original folder shouldn't be deleted in any situation to avoid media-loss.","Time Machine: If you're using Apple's Time Machine backup system, make sure that your Final Cut Pro library is in a location that Time Machine backs up. Time Machine backs up your entire computer at regular intervals, so this provides a kind of automatic backup."]},{"l":"C"},{"i":"captions--subtitles","l":"Captions & Subtitles","p":["Depending on your workflow, you might require anyone or more of these tools:","Caption Burner- Caption Burner is a plugin for Final Cut Pro, Premiere Pro, After Effects and Motion that lets you burn captions and subtitles into your video.","Caption Converter- Caption Converter is an app for macOS that lets you import, export, edit and translate caption and subtitle information in the following formats: iTunes Timed Text (iTT), WebVTT (VTT), SubRip (SRT), SubViewer (SUB), Adobe Encore Script and Adobe Premiere Pro Markers (CSV).","Subvert- Subvert expands on Final Cut Pro X's captioning capabilities. It makes editing with captioned footage easy and powerful.","You can learn more on Apple's site."]},{"i":"codecs---what-codecs-are-supported","l":"Codecs - What codecs are supported?","p":["You can find every supported file format and codec on Apple's site."]},{"i":"collaboration---how-to-share-libraries","l":"Collaboration - How to share libraries?","p":["If you're looking for the best collaboration workflow, check out PostLab.","You should also read the Workflow section of this site."]},{"i":"color-grading---does-it-shine","l":"Color Grading - Does it shine?","p":["Yes, Final Cut Pro has very powerful built-in colour grading tools.","There are also lots of great third party colour grading plugins.","You can also send your projects to DaVinci Resolve via FCPXML.","There's even a roundtrip template built into Resolve."]},{"i":"could-final-cut-pro-run-on-a-hackintosh","l":"Could Final Cut Pro run on a Hackintosh?","p":["Yes. There are many users and hobbyist who have built a Hackintosh to run Final Cut Pro.","However, it is not officially supported and future versions of macOS will eventually drop support of Intel.","In productions and mission critical environments, Hackintosh machines are NOT RECOMMENDED."]},{"l":"E"},{"l":"Editing with Speed","p":["Improving your editing speed in Final Cut Pro can be accomplished with a combination of technical skills, keyboard shortcuts, and optimizing your workflow. Here are some tips:","Learn Keyboard Shortcuts: Keyboard shortcuts can save a significant amount of time in the editing process. Familiarize yourself with the most commonly used ones, like \"i\" for setting an in-point, \"o\" for an out-point, and \"space\" for play/pause.","Use Proxy Media: When dealing with high-resolution video like 4K or 8K, editing can become sluggish. Use Final Cut Pro's proxy media feature, which allows you to create lower-resolution versions of your footage for smoother editing. When you're done, you can switch back to the full-resolution media for final output.","Organize Your Media: Keep your footage and assets well-organized. Use libraries, events, and keywords to categorize and manage your footage. This will make finding and accessing the clips you need much faster.","Use Presets: If you find yourself often applying the same settings or effects, save them as presets. This can be done for color grading, audio effects, and more.","Optimize Your Hardware: Make sure your computer is up to the task. Keep your software up to date, ensure you have enough free storage space, and consider upgrades to your RAM or GPU if necessary.","Batch Operations: Perform tasks such as transcoding, rendering, and exporting in batches, ideally during downtime, to avoid interrupting your editing flow.","Learn to Use the Magnetic Timeline: The magnetic timeline is one of Final Cut Pro's unique features. It helps maintain synchronization when moving clips around, which can save you time rearranging your timeline.","Color Coding: Use color coding for your clips and timelines. This can help you quickly locate related material or sequences.","Use the Skimming Feature: The skimming feature allows you to quickly review your footage and makes cutting and trimming faster.","Storyboard Your Videos: Before even starting with Final Cut Pro, have a clear idea of what you want to achieve. A storyboard or script can reduce the time spent experimenting with different edits.","Remember that like any skill, speed comes with practice. The more you use Final Cut Pro and become familiar with its features, the faster you will get."]},{"i":"effects---overview","l":"Effects - Overview","p":["Final Cut Pro comes with a variety of built-in effects that you can apply to your video clips. These include:","Video Effects: There's a broad range of video effects available in Final Cut Pro, including color corrections, distortions, blurs, stylistic effects, and more. Some popular ones include \"Vintage\" effects for a retro look, \"Keying\" effects for green screen work, and \"Light\" effects for flares and glows.","Audio Effects: Final Cut Pro also includes a variety of audio effects. These include EQ filters, noise reduction tools, reverbs, echoes, and more.","Transitions: Transitions are a type of effect that you can place between clips. Final Cut Pro includes various transition effects such as dissolves, wipes, slides, and more complex 3D transitions.","Text and Generators: Final Cut Pro includes several types of text effects and motion graphics generators. These include title effects, credits, lower thirds, backgrounds, and more.","Keying & Compositing: Final Cut Pro includes powerful tools for keying and compositing, which are used to remove backgrounds (such as with green screen footage) or combine multiple layers of video.","Speed & Time effects: With these effects, you can slow down or speed up your clips, create freeze frames, and even reverse your footage.","Color Grading: Final Cut Pro has advanced color grading tools, including color wheels, color curves, hue/saturation curves, and custom LUTs.","Stabilisation & Correction: These effects help fix issues with your footage, such as shaky camera work or lens distortion.","360° Video Effects: If you're working with 360° video, Final Cut Pro has several effects specifically designed for this format.","Remember that you can further expand Final Cut Pro's capabilities with third-party plugins. These can provide additional effects, transitions, and other capabilities. As with any effect, it's important to use these tools judiciously; while they can enhance your project, overuse can be distracting to the viewer."]},{"i":"export---how-to-share-my-work","l":"Export - How to share my work?","p":["You can learn more on Apple's site."]},{"l":"F"},{"i":"fcpxml---overview","l":"FCPXML - Overview","p":["fcpxml is FCP's propietary file format for sending timelines or even entire libraries to third party apps and plugins. It opens Final Cut to the rest of the world and even to other NLEs, like daVinci Resolve.","Have a look at tools to get an impression what's possible with fcpxml.","Final Cut usually supports the current and the previous version of fcpxml. example: 10.9 and 10.10. You'd be well advised to use the previous version, because it's usually supported by a wider range of Apps."]},{"i":"file-formats---what-file-formats-are-supported","l":"File Formats - What file formats are supported?","p":["You can find every supported file format and codec on Apple's site."]},{"l":"Final Cut Pro vs. Adobe Premiere Pro","p":["Final Cut Pro and Adobe Premiere Pro are both powerful, professional-grade video editing software, but they have some important differences.","Platform Availability: Final Cut Pro is available only on macOS, while Adobe Premiere Pro is available on both macOS and Windows. This could be a deciding factor if you're not using Apple hardware.","Pricing Model: Final Cut Pro offers a one-time purchase, which can be more affordable in the long run. On the other hand, Adobe Premiere Pro follows a subscription model that can be more flexible and also includes updates as long as the subscription is active, but tends to be more expensive over time.","Performance: Final Cut Pro is known for its performance optimization for Apple hardware, which can make it run more smoothly on Macs. Adobe Premiere Pro can also deliver good performance but may not be as optimized for specific hardware.","Interface and Workflow: Final Cut Pro uses a Magnetic Timeline, which offers a different editing experience by automatically moving clips to avoid gaps and collisions. Premiere Pro uses a more traditional track-based timeline, which can be more intuitive to those coming from other editing software. This aspect largely comes down to personal preference.","Integration with Other Software: Premiere Pro is part of the Adobe Creative Cloud, so it integrates very well with other Adobe products like After Effects and Photoshop. Final Cut Pro also has some level of integration with other Apple software like Motion and Compressor, but the Adobe ecosystem is generally more extensive.","Learning Curve: Both programs have a steep learning curve due to their advanced capabilities, but some users find Final Cut Pro to be more user-friendly initially.","Support for Formats and Codecs: Both support a wide range of video formats and codecs, but there may be differences in support for specific formats. For example, you'll need to use a third party solution called BRAW Toolbox to use BRAW files in Final Cut Pro.","Collaboration Features: Adobe Premiere Pro has a feature called \"Team Projects\" for cloud-based collaboration between editors. You'll need to use a third party solution like PostLab to easily collaborate in Final Cut Pro.","It's important to note that both are professional-grade tools capable of high-level editing and post-production work. The choice between them often comes down to personal preference, specific project requirements, and the hardware/software ecosystem you're already working in. Always try to use the latest information and, if possible, try out both programs before making a decision."]},{"l":"H"},{"i":"high-resolutions---can-fcp-handle-4k-and-8k","l":"High Resolutions - Can FCP handle 4K and 8K??","p":["Yes, Apple's Final Cut Pro can handle both 4K and 8K video editing.","Final Cut Pro supports a wide range of formats and resolutions, including 4K and 8K, and it is designed to take advantage of the high-performance CPU and GPU hardware in Mac computers. This makes it a suitable choice for professional video editing, including high-definition formats.","You can find the Final Cut Pro system requirements here."]},{"i":"how-many-final-cut-pro-users","l":"How Many Final Cut Pro Users?","p":["Richard Taylor has a great page with all this information here."]},{"l":"K"},{"l":"Key Features","p":["360-Degree VR Editing: You can import and edit 360-degree footage, and preview it in real-time with a connected VR headset.","Advanced Color Grading: Final Cut Pro offers professional color grading tools, including color wheels, color curves, hue/saturation curves, and custom LUTs.","Audio Editing and Sound Effects: Final Cut Pro offers advanced audio alignment and sound effects capabilities. It supports multi-channel audio editing and surround sound.","Clip Connections: Final Cut Pro will automatically attach clips to maintain synchronization until you explicitly move or remove them.","Compressor Integration: Final Cut Pro works seamlessly with Compressor, Apple's professional encoding software, allowing for custom output settings and packaging for popular digital platforms.","Effects: Final Cut Pro offers a large library of effects, transitions, and text tools.","Final Cut Pro is a robust video editing software with a wide range of features designed for both amateur and professional video editors. Here are some of its key features:","HDR Support: Final Cut Pro supports HDR (High Dynamic Range) video, allowing you to work with footage that contains a higher range of brightness levels.","Magnetic Timeline: This innovative feature allows you to move and trim clips without causing collisions or sync problems.","Motion Graphics Templates: Final Cut Pro integrates with Apple's Motion software, letting you create and use dynamic motion graphics templates in your projects.","Multicam Editing: Final Cut Pro allows you to work with multiple camera angles and synchronizes them automatically using audio waveforms.","Organizational Tools: Final Cut Pro provides powerful organizational tools like keyword tagging, ratings, and smart collections to keep your projects structured and efficient.","Proxy Workflows: The software provides options to transcode high-resolution video to proxy media, smaller, lower-resolution files that speed up editing on less powerful systems.","Remember, the best way to familiarize yourself with these features is to dive in and start using the software. Each project will likely present new opportunities to explore different facets of Final Cut Pro's capabilities.","Roles: Unlike traditional track-based NLEs, Final Cut Pro utilises roles which can be assigned to clips in the browser or the timeline, which provides the user with greater flexibility in timeline organization and management.","Third-Party Plugin Support: There is a large ecosystem of third-party plugins that can add new effects, transitions, and workflows to Final Cut Pro."]},{"l":"Keyboard Shortcuts","p":["You can learn more here.","Alternatively you can stumble directly into Final Cut Pro's Command Editor with COMMAND+K.","It features a very good search field and a complete list of all commands, including small descriptions for every command.","It's a built-in resource to learn more about the capabilities of Final Cut Pro."]},{"l":"L"},{"i":"libraries---how-to-organise","l":"Libraries - How to organise?","p":["Creating and managing libraries in Final Cut Pro is a fundamental part of organizing your editing projects. Here's how to create and manage libraries:"]},{"l":"Creating a Library","p":["Open Final Cut Pro.","Go to the File menu, then choose New > Library (or use the keyboard shortcut Option-Command-N).","A save dialog will appear. Choose where to save the library, then give it a name and click Save."]},{"i":"managing-libraries","l":"Managing Libraries:","p":["After creating a library, it's important to keep it organized. Here's how you can manage libraries:","Creating Events: Inside a library, you can create events, which are like folders for your media files. To create an event, select the library where you want the event, then go to File > New > Event(or use the keyboard shortcut OPTION+N).","Importing Media: You can import media directly into an event. To do this, select the event, then go to File > Import > Media(or use the keyboard shortcut COMMAND+I).","Moving and Copying Events: To move or copy events between libraries, you can simply drag and drop them in the library browser.","Renaming Libraries and Events: To rename a library or event, click on its name in the library browser, then enter the new name.","Deleting Libraries and Events: To delete a library, first make sure it's closed (select it, then go to File > Close Library). Then you can delete it in Finder, like any other file. To delete an event, select it, then press the DELETE key.","Backing Up Libraries: To back up a library, you can simply copy it in Finder to another location, like an external hard drive. You can also use the built-in library backup feature, which automatically saves backups to your Movies folder.","Remember that managing libraries effectively can help you keep your projects organized, and make it easier to find and work with your media files. Each library contains all of the media, edits, and other work associated with a project or a group of projects, so it's important to give them clear, descriptive names that make it easy to tell what they contain."]},{"l":"M"},{"i":"money---how-much-does-it-cost","l":"Money - How much does it cost?","p":["You can find the latest pricing information on the Mac App Store.","Though Final Cut Pro has everything you need to edit and share your video projects we want to point out that professional workflows may demand additional Plugins and Apps.","We recommend at least:","Sync-N-Link- Batch-sync Audio with Video and Metadata","X2Pro- AAF Audio deliveries to Pro Tools","PostLab- collaboration with other Editors and Assistant Editors","You can learn about these and many others on this site under Tools and Plugins."]},{"l":"Motion Tracking","p":["Yes, you can do object-based tracking in Final Cut Pro.","You can learn more here.","There's also a great tutorial by Brad West here."]},{"l":"Multicam Editing","p":["Some say Final Cut Pro has the best Multicam handling in the industry.","You can learn more here."]},{"l":"P"},{"i":"performance---stay-snappy","l":"Performance - Stay Snappy","p":["What is causing delay and laggy behaviour or even increased freezes?","FCP can lag with timelines longer than 30 minutes. Aside from slow drives, too less RAM or bad media management, it is the sheer amount of clips (Audio and Video) in a timeline that could hit on performance. It's hard to pin-point exactly, but it starts from around 500 assets (clips, titles, effects) in the timline.","Apple Silicon Macs do perform significantly better than Intel Macs. With M1 Pro/Max+ timelines of 40-60 minutes should be no problem.","there are several tricks and workarounds to keep long timelines without lags","workarounds","RAM should increase with the lengths of your projects. Though it's possible to edit 90 minutes with 16 GB, we would recommend 32-64 GB of RAM with feature-length timelines. This reduces the risk of freezes, when FCP has to suddenly load big Events.","working in reels:","You can segment your timeline into regions of around 20-25 minutes and put them into Compound Clips. Inside the Compounds you drive the edit. \"Outside\" the Compounds you compose the film. For example you could try out different styles of music. With smart Role-management you can turn on/off different music types, for example. important note: before export, you always have to check the joints between the reels.","stay snappy:","With the aforementioned reels-system you could have even 3-hour-timelines. you also could temporarily put a segment of the edit into a Compound to work faster and break it apart afterwards.","stay snappier:","We are big fans of transcoding beforehand. So every video that goes in is ProRes and any Audio is transcoded to WAV. There are reports of reliable workflows with (high resolution) h264-.mov on Apple Silicon. But you have to take care that the TC runs within the container for postproduction.","We would also recommend having fast thunderbolt SSD-RAIDs or even enough internal SSD-storage for all your media (4-8 TB). This practically neagtes load-times for waveforms and thumbnails, for example while zooming in or out the TL.","beware the bug","As of June 2023 there's still' a bug, when you have long titles or effects that span over the entire timeline, such as Watermarks, TC-burnin and color adjustments. This can slow down the whole system. Try to avoid those or only apply for export. You can apply them to the \"reels\"-TL, without limitations."]},{"i":"professional-film-editing---can-fcp-compete","l":"Professional Film Editing - Can FCP compete?","p":["Absolutely. Final Cut Pro has been used to cut Hollywood feature films, broadcast television, fast turnaround television, television commericials, and everything in-between.","Check out our Case Studies section and our Cut on Final Cut Pro page for examples."]},{"l":"S"},{"l":"Stabilisation","p":["You can learn more on Apple's site."]},{"l":"System Requirements","p":["You can learn more on Apple's site.","You can also learn about our recommendations on the Workflow page."]},{"l":"T"},{"i":"third-party-plugins---where-to-find","l":"Third-party Plugins - Where to find?","p":["Check out our Plugins and Workflow Extensions for a list of our favourites."]},{"i":"trial-or-free-version-available","l":"Trial or Free version available?","p":["Absolutely. There's a free 90 trial for each version that's released.","You can learn more and download on Apple's website."]},{"i":"tutorials--training","l":"Tutorials & Training","p":["You can find lots of great resources on our Training page."]},{"l":"U"},{"i":"upgradeupdate-strategy","l":"Upgrade/Update Strategy","p":["You can download the latest version of Final Cut Pro from the Mac App Store.","However, we always recommend creating a ZIP file of your previous Final Cut Pro version before updating, in case there's a bug or issue that requires you to roll back or you want to open older libraries.","Some updates also update the library file to make it compatible with new features.","In this case going back is only possible via FCPXML export. This can be tricky.","Do not update during a critical phase of a project!"]},{"i":"user-interface---how-to-customize","l":"User Interface - How to customize?","p":["Final Cut Pro offers several ways to customize the interface to better suit your workflow. Here are some of the key ways you can customize the interface:"]},{"l":"Workspaces","p":["Final Cut Pro includes a number of pre-defined workspaces, which are layouts of the interface that are tailored to different types of tasks, like color grading, audio editing, and more.","You can switch between these at any time by going to Window > Workspaces. You can also save your own custom workspaces by arranging the interface how you like, then going to Window > Workspaces > Save Workspace As."]},{"i":"viewer--timeline","l":"Viewer & Timeline","p":["You can adjust the size of the Viewer and the Timeline by dragging the border between them.","You can also adjust the size of the clips in the timeline by using the Clip Appearance button at the bottom right of the timeline."]},{"i":"browser--inspector","l":"Browser & Inspector","p":["The Browser and Inspector can be shown or hidden depending on your needs.","You can show or hide the Browser by pressing COMMAND+1, and the Inspector by pressing COMMAND+4.","You can also adjust the size of these panels by dragging their borders."]},{"l":"Secondary Display","p":["If you have a secondary display, you can use it to extend your workspace.","Go to Window > Show in Secondary Display to select what you want to display on the second screen.","Remember, the best layout depends on your specific needs and workflow. Feel free to experiment and find what works best for you."]},{"l":"V"},{"i":"vr-and-360---editing-new-dimensions","l":"VR and 360° - Editing New Dimensions","p":["Final Cut has built-in 360° and VR editing capabilities.","You can learn more on the 360° Video page or on the official support page."]},{"l":"W"},{"i":"what-is-apples-final-cut-pro","l":"What is Apple's Final Cut Pro?","p":["Final Cut Pro is a professional video editing software application developed by Apple. It provides non-linear, non-destructive editing of any QuickTime-compatible video format, including DV, HDV, P2 MXF (DVCProHD), XDCAM (via plug-in), 2K, 4K and 5K film formats, and can import projects directly from iMovie for iOS.","Key features of Final Cut Pro include:","Magnetic Timeline: This feature lets you move and trim clips without causing collisions or sync problems, making for a more efficient editing process.","Multicam Support: This allows you to automatically sync up to 64 angles of video and photos to create multicam clips.","360-Degree VR Editing: You can edit 360-degree footage and see the results in real-time with a VR headset.","Advanced Color Grading: Final Cut Pro offers professional color grading tools to give you precise control over the color settings in your video.","Motion Graphics and Effects: You can create stunning effects and sweeping graphics with Motion, including studio-quality 2D and 3D titles you can open and adjust in Final Cut Pro.","VR Headset Playback: You can view your 360-degree video in real time with a connected VR headset.","Asset Management: Clip Connections allow you to keep related clips together, making it easy to place items such as B-roll, sound effects, and music in the timeline.","Final Cut Pro is available only on macOS and it's sold as a one-time purchase rather than a subscription."]},{"i":"windows-or-linux","l":"Windows or Linux?","p":["Final Cut Pro is an Apple designed product, therefore optimized for Mac and iPad.","It's very unlikely that it will ever come to other platforms in the future.","Something missing or have a question? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Release Notes","p":["This page is designed to not just copy and paste Final Cut Pro's official release notes for Mac or iPad, but also keep track of changes/bugs/additions that weren't actually included in the official release notes.","Want to contribute? Learn more here!"]},{"i":"final-cut-pro-11-for-ipad","l":"Final Cut Pro 1.1 (for iPad)","p":["Addresses an issue where clip height adjustments would not update audio-only clips in connected storylines.","Addresses an issue where copying and pasting transform settings would unexpectedly paste clip speed.","Addresses an issue with keyboard shortcuts not working as expected in the content browser.","Build: 451.1.61","Final Cut Pro for iPad 1.1 includes the following bug fixes and enhancements:","Fixes an issue where importing media on a device with no remaining storage would cause Final Cut Pro for iPad to quit unexpectedly.","Fixes an issue where resetting audio settings would unexpectedly reset clip speed.","Fixes an issue where the Keywords window would open offscreen with the timeline minimized.","Improves reliability and performance when dragging a clip from the browser to the timeline.","Improves reliability and performance when using soundtracks and dynamic titles.","Improves reliability when retiming a clip with Scene Removal Mask applied.","Improves visual feedback and reliability when rating and adding keywords to clips while filtering clips in the browser.","Improves visual feedback when adding effects and transitions to timeline clips in Position mode.","Move the playhead backward or forward 10 frames using the keyboard shortcuts Shift-Left Arrow and Shift-Right Arrow.","Released July 18, 2023","Resolves an issue where disabled multicam audio angles would appear in the audio component list in the inspector.","Resolves an issue where importing clips with the same name would generate blank clip thumbnails.","Resolves an issue with custom fonts not appearing in the inspector.","Resolves an issue with the appearance of onscreen controls for cropping and shape masks.","Show info for browser clips using the keyboard shortcut Control-I.","Show or hide the jog wheel using the keyboard shortcut Control-Shift-W; expand or collapse it using Control-W.","Split and switch multicam clip angles using the keyboard shortcuts 1, 2, 3, and 4.","Switch the jog wheel between playhead mode and nudge mode using the keyboard shortcut Shift-W.","Turn audio skimming on or off using the keyboard shortcut Shift-S.","Turn skimming on or off using the keyboard shortcut S.","Turn snapping on or off using the keyboard shortcut N."]},{"i":"notes-from-fcp-cafe","l":"Notes from FCP Cafe:","p":["Final Cut Pro 10.6.7 on Mac uses a newer Library format than Final Cut Pro 1.1 on iPad. This means that if you want to use Transfer Toolbox to go from Mac to iPad, you should keep using Final Cut Pro 10.6.6."]},{"i":"final-cut-pro-101-for-ipad","l":"Final Cut Pro 1.0.1 (for iPad)","p":["Released June 1, 2023","Fixes an issue where the validation of third-party Audio Unit Extensions prevented Final Cut Pro for iPad from opening."]},{"i":"final-cut-pro-100-for-ipad","l":"Final Cut Pro 1.0.0 (for iPad)","p":["This is the first release of Final Cut Pro for iPad!"]},{"i":"final-cut-pro-1068","l":"Final Cut Pro 10.6.8","p":["Released August 1, 2023","Fixes an issue where video could freeze in the viewer."]},{"i":"final-cut-pro-1067","l":"Final Cut Pro 10.6.7","p":["Released July 18, 2023"]},{"i":"notes-from-fcp-cafe-1","l":"Notes from FCP Cafe:","p":["This release is incredibly buggy, and should be avoided. You can learn more here."]},{"i":"release-notes-1","l":"Release Notes:","p":["Addresses an issue where audio effects would not be reset during playback.","Fixes an issue where an Audio Units effect could have incorrect values when importing using FCPXML.","Improves waveform redrawing on expanded audio components when adjusting volume with the Touch Bar.","Resolves an issue where the Voice Isolation Amount slider would snap to 0% when trying to set a value less than 7%.","Improves reliability when retiming a clip with the Scene Removal Mask applied.","Fixes an issue where the Control Range setting in the Color Adjustments effect would be incorrectly set to SDR when importing using FCPXML."]},{"i":"final-cut-pro-1066","l":"Final Cut Pro 10.6.6","p":["Released May 23, 2023"]},{"i":"notes-from-fcp-cafe-2","l":"Notes from FCP Cafe:","p":["This release removes FxPlug2 and FxPlug3 support. Only FxPlug4 is now supported, and older plugins will no longer work. You can learn more here."]},{"i":"new-features","l":"New features:","p":["Import your project from Final Cut Pro for iPad to take advantage of blazing performance, advanced color correction tools, and more on your Mac.","Use automatic color management to easily edit HDR and SDR clips in the same project, with intelligent tone mapping of video to match your color space.","Choose from a new collection of professionally designed titles, effects, transitions, and generators to enhance the look of your videos.","Improve your color correction workflow with the Color Adjustments effect, and apply new color presets to give your clips a particular look.","Use Scene Removal Mask to remove and replace the background behind a subject, without using a green screen.","Final Cut Pro also includes these additional fixes and enhancements:","Use the new ProRes RAW Settings window for easy access to ProRes RAW ISO, color temperature, and exposure offset.","Install an Apple ProRes RAW plug-in from a camera manufacturer to view and adjust settings optimized for that camera’s sensor.","Export to HEVC at up to 8K resolution with hardware acceleration on Mac computers with Apple silicon.","Fixes an issue where multicam clips would sometimes turn black.","Export to EXR now includes an alpha channel.","Fixes an issue where adding video clips from the Photos browser would result in lower-resolution files being placed in the timeline.","Fixes an issue where Final Cut Pro could not read Sony FX9 clips with embedded LUTs.","Fixes an issue where Final Cut Pro would fail to open while an exFAT-formatted SD card with Canon clips was mounted.","Fixes an issue where the progress bar would not update when opening or updating a large library."]},{"i":"final-cut-pro-1065","l":"Final Cut Pro 10.6.5","p":["Released 24 October 2022","Supports faster exporting of H.264 or HEVC on Macs with Apple silicon.","Increases stability when disconnecting a Sidecar display on Intel Mac computers.","Improves performance when editing on a Mac with an ambient light sensor.","Fixes an issue where adding images from the Photos browser to a new project may cause additional media to be appended before the last clip."]},{"i":"final-cut-pro-1064","l":"Final Cut Pro 10.6.4","p":["9 August 2022","Fixes an issue where video frames may be out of order during playback or export."]},{"i":"final-cut-pro-1063","l":"Final Cut Pro 10.6.3","p":["Released 19 May 2022","Improves reliability when using drag and drop to replace a transition.","Improves reliability when dragging a transition onto a connected clip.","Fixes an issue where custom sound effects don't always appear in the Sound Effects browser."]},{"i":"final-cut-pro-1062","l":"Final Cut Pro 10.6.2","p":["Adds Korean language support.","Attach titles and graphics to existing tracker data in the Tracker Options on-screen-control.","Choose either pin to tracker or offset from tracker in the Tracker Options on-screen-control.","Final Cut Pro 10.6.2 also includes these additional fixes and enhancements:","Fixes an issue where opening a compound or multicam clip in a connected storyline would sometimes display an empty timeline.","Fixes an issue where opening a project after modifying its starting timecode would sometimes display an empty timeline.","Fixes an issue where video scopes would sometimes appear monochrome.","Import Magic Movie and Storyboard projects created with iMovie for iOS version 3.0 into the timeline.","Improve the clarity of speech by adjusting the level of background noise using machine learning (Requires macOS Monterey 12.3 or later).","Improves functionality when dragging photos and videos from the Photos app directly into Final Cut Pro.","Improves functionality when selecting photos and videos with the Photos browser.","Improves performance when drawing waveforms.","Improves reliability when playing audio from a clip that is reversed in the timeline.","Improves reliability when removing effects from retimed clips.","Improves reliability when using Send to Compressor with a compound clip that contains Object Tracker data.","Improves reliability when using the keyboard to navigate to captions attached to a secondary storyline.","Improves reliability when using the Object Tracker in connected storylines.","Improves reliability when using the Object Tracker with clips that don't match the project's frame rate.","Includes an alpha channel when exporting a PNG file from the timeline.","Items attached to a tracked object can be scaled in X and Y sizes uniformly.","Optimised playback and graphics performance for M1 Max and M1 Ultra on the new Mac Studio.","Quickly locate media that appears more than once in a project using highlighted clip ranges or the Timeline Index.","Released 12 April 2022","Tracking Editor automatically displays in the timeline when performing an object track."]},{"i":"final-cut-pro-1061","l":"Final Cut Pro 10.6.1","p":["Released 15 November 2021","Fixes an issue that could prevent successful import of FCPXML 1.9 and 1.10 files.","Improves performance when opening large libraries.","Fixes an issue where the Command-Z keyboard shortcut would not perform an Undo if Language was set to Spanish in System Preferences.","Fixes an issue in the Export File share destination where the Video Codec setting was unavailable after choosing Computer as the format.","Improves reliability during playback of AC3 audio.","Improves stability when removing audio effects in the inspector.","Improves stability when opening projects from the browser.","Improves stability when previewing effects in the Effects browser.","Improves stability when dragging clip ranges to Keyword Collections."]},{"i":"final-cut-pro-106","l":"Final Cut Pro 10.6","p":["Released Monday, 18 October 2021"]},{"l":"Object Tracker","p":["Drag effects, titles or generators into the viewer to automatically detect, track and match the movement of faces or objects using machine learning.","Manually add a tracker from the inspector, adjust its mask shape and choose between different tracking analysis types.","Use the Tracking Editor in the timeline to quickly delete or re-analyse segments of an existing track.","Attach additional titles or generators to existing tracks using the tracker source drop-down in the viewer.","Object tracking uses the Apple Neural Engine to accelerate video analysis on Mac computers with Apple silicon."]},{"l":"Cinematic Mode","p":["Adds support for hiding FCPXML extension during export.","Adds support for playback of Opus audio files.","Audio skimming (Shift-S) now toggles on and off when using the keyboard arrow keys to step through frames.","Choose to focus on faces or other objects by selecting them with the Cinematic tool in the viewer.","Edit videos recorded with iPhone 13 in Cinematic mode (requires macOS Monterey).","Final Cut Pro 10.6 also includes these additional fixes and enhancements:","Fixes an issue where a custom camera LUT could be ignored during a render or export.","Fixes an issue where a ProRes 4444 file lost its alpha channel after export.","Fixes an issue where audio waveforms would not redraw after an audio level change.","Fixes an issue where custom role colours would not change after choosing Undo.","Fixes an issue where pops could occur during MP3 playback.","Fixes an issue where scroll bars were not persistent when choosing to always show scroll bars in System Preferences.","Fixes an issue where thumbnails were not generated for some clips in the browser or timeline.","Improves appearance of animation paths when using the transform tool.","Improves performance when using Avid DNxHD and DNxHR media with the Avid Universal decoder on Mac computers with Apple silicon.","Improves reliability of HE-AAC v2 audio during playback.","Improves reliability of MXF audio during playback.","Improves reliability when choosing between multiple GPUs in Final Cut Pro Preferences on Mac Pro (2019).","Improves reliability when importing an XML that includes closed captioning.","Improves reliability when importing XML that contains rolling shutter or SmoothCam metadata.","Improves stability when drawing a shape mask in the viewer.","Improves stability when duplicating a project.","Improves stability when performing a trim during double speed playback.","Improves stability when removing a through edit within a compound clip.","Improves stability when selecting a library in the sidebar on Mac computers with Apple silicon.","Improves stability when using the RED RAW Settings tool with multiple RED RAW clips and images selected.","New Neon effect adds a glow to text and graphics.","Updates FCPXML to version 1.10 with new bundle format.","Use Cinematic controls in the inspector to modify the intensity of the depth effect, and add keyframes to change the effect over time.","Use the Cinematic Editor in the timeline to view or delete focus points."]},{"i":"final-cut-pro-1054","l":"Final Cut Pro 10.5.4","p":["Released Thursday, 8 July 2021","Improves stability when exporting with certain macOS Language & Region preferences.","Improves stability when playing H.264 or HEVC media."]},{"i":"final-cut-pro-1053","l":"Final Cut Pro 10.5.3","p":["Create and edit custom column views with the new column editor.","Fixes an issue in which audio waveforms would sometimes not update when using the Trim tool to perform a slip edit.","Fixes an issue in which the timeline index was not displaying active angle information for multicam clips.","Fixes an issue where adjusting audio keyframes on one side of a blade edit shifts keyframes unexpectedly on the other side.","Fixes an issue where Canon Cinema RAW Light and RED RAW media could not be imported if a camera card was mounted when launching Final Cut Pro.","Fixes an issue with the Colour Mask in which dragging to select a range with the eyedropper did not display the selection circle.","Improves reliability when app switching to Final Cut Pro with an external hard drive connected.","Improves reliability when importing an FCPXML file with missing media.","Improves reliability when quitting Final Cut Pro during a background render.","Improves reliability when using the Select Next Clip command.","Improves stability and performance when working with multicam clips that contain corrupt media.","Improves stability when copying events in the browser to a library stored on an external hard drive.","Released Thursday, 17 June 2021","Restores support for copying clips from the Finder and pasting into the timeline.","Search for media in the browser using expanded criteria including clip names, markers and notes.","Sort clips in the browser according to type, including proxy, optimised and missing media."]},{"i":"final-cut-pro-1052","l":"Final Cut Pro 10.5.2","p":["Released Thursday, 4 March 2021","Adds support for a new Universal RED plug-in enabling native RED RAW decoding and playback on both Apple silicon and Intel-based Mac computers.","Improves stability when playing back H.264 video files with corrupt data.","Fixes an issue in which text could disappear when double-clicking a value field in the inspector.","Fixes an issue in which FCPXML files created from drop frame projects would import as non-drop frame.","Fixes an issue that may prevent custom Motion titles stored inside the library from appearing in the Titles browser.","Improves stability when choosing the DPP/Editorial Services metadata view with MXF media.","Improves stability when using AirPlay with Final Cut Pro on a Mac computer with Apple silicon."]},{"i":"final-cut-pro-1051","l":"Final Cut Pro 10.5.1","p":["Released Monday, 14 December 2020","Adds an Export for YouTube and Facebook share option to create a file for uploading to those sites.","Includes stability improvements."]},{"i":"final-cut-pro-105","l":"Final Cut Pro 10.5","p":["Accelerated machine learning analysis for Smart Conform using the Apple Neural Engine on Mac computers with Apple silicon.","Export HLG high-dynamic-range projects with Dolby Vision 8.4 metadata for optimised playback on Apple Devices.","Final Cut Pro 10.5 also includes the following:","Fixes an issue in which audio sync could drift when retiming clips.","Fixes an issue in which audio waveforms would not update in the inspector after adding a filter or making a volume change.","Fixes an issue in which chapter markers were not available when sharing.","Fixes an issue in which copying stills between libraries would result in duplicate files.","Fixes an issue in which LUTs were not available in optimised or proxy clips.","Improved performance and efficiency on Mac computers with Apple silicon.","Improves appearance of HDR thumbnails in the browser and timeline.","Improves reliability when creating proxy media from non-square pixel interlaced clips.","Improves reliability when previewing built-in sound effects in the browser.","Improves reliability when using on-screen Crop controls in the viewer.","Improves reliability with Social Media content positioning when using Smart Conform to switch between vertical and horizontal frame sizes.","Improves stability when applying stabilisation and colour balance during import.","Includes built-in support for Avid DNxHR® and Avid DNxHD® decoding and playback.","Option to create a copy of your library and automatically transcode media to ProRes Proxy or H.264 at various resolutions.","Released Thursday, 12 November 2020"]},{"i":"final-cut-pro-10410","l":"Final Cut Pro 10.4.10","p":["Released 24 September 2020","Fixes an issue in which XAVC media from the Sony PXW-FX9 camera is not recognised.","Fixes an issue where brightness levels shift when switching between Better Quality and Better Performance in the viewer.","Fixes an issue in which effect keyframes are not added correctly when using on-screen controls.","Improves stability when using the transform tool with multiple clips in the timeline.","Improves reliability when exporting an FCPXML that contains Compound clips.","Addresses an issue that could prevent sharing at certain resolutions.","Fixes an issue in which sharing a Compound or Multicam clip from the timeline was disabled."]},{"i":"final-cut-pro-1049","l":"Final Cut Pro 10.4.9","p":["Released 25 August 2020"]},{"l":"Improved proxy workflows","p":["Generate proxy media in custom frame sizes of 1/8, 1/4, 1/2 or full resolution.","Choose to create proxy media in either ProRes Proxy or H.264.","Choose to display original or optimised media if proxy media is not available for some clips in your project.","Create a proxy-only copy of a library to reduce size for portability or performance."]},{"l":"Social media tools","p":["Automatically transform projects for square or vertical delivery with Smart Conform.","Display media outside the Viewer boundary when adjusting scale, rotation and position using Transform Overscan.","Add a Custom Overlay as an on-screen guide when placing text and graphics within a square or vertical frame.","Use the new Duplicate Project As command in combination with Smart Conform to quickly create a social media version of your existing project."]},{"l":"Other new features","p":["Adjust ProRes RAW camera settings such as ISO, colour temperature and exposure offset using new controls in the inspector.","Adjust timeline clip height in thumbnail-only view.","Crossfade audio on adjacent clips in one step using a menu command or keyboard shortcut.","Delete generated proxy files for individual clips in the browser.","Easily stabilise 360-degree video with one-click tools in the inspector.","Final Cut Pro 10.4.9 also includes the following:","Fixes an issue in which adjusting clip audio configuration results in the audio role resetting to its default.","Fixes an issue in which layered PSD files would not display properly when imported via XML.","Fixes an issue in which spanned clips were imported incorrectly.","Fixes an issue in which thumbnails would not update when skimming titles, generators and transitions in the browser.","Improves performance when dragging a complex project to a new Library.","Improves reliability when importing multicam camera angle metadata via XML.","Improves reliability when importing stabilisation data via XML.","Improves reliability when selecting A/V Output for 8K media on third-party hardware.","Improves reliability when selecting A/V Output while using Pro Display XDR.","Improves reliability when sharing a project via email.","Improves reliability when using the Canon XF-HEVC codec.","Improves reliability when using the Sony XAVC-L codec.","Improves stability when using Mac Pro (2019) with three Pro Display XDRs","Improves visual feedback when dragging music and sound effects from the media browser.","Preview 360-degree stereoscopic 3D video in simultaneous left- and right-eye views with the 360° Viewer.","Sort clips and projects by last modified date in list view.","Use Close Project command in a new drop-down menu above the timeline to clear project history."]},{"i":"final-cut-pro-1048","l":"Final Cut Pro 10.4.8","p":["Released 10 December 2019","Prevents an issue that could lead to visual artefacts appearing on a Mac with a Nvidia graphics card that has the Reduce Transparency accessibility preference turned on.","Fixes an issue that prevented media from appearing in the Photos library browser when using Final Cut Pro on macOS Catalina.","Fixes an issue in which Final Cut Pro would sometimes load an incorrect project into the timeline.","Resolves an issue in which thumbnails would not update when skimming titles, generators and transitions in the Browser.","Improves stability when sharing.","Improves stability when skimming media in the Browser.","Improves reliability when working with Sony XAVC media.","Improves reliability when importing and exporting CEA 608 captions."]},{"i":"final-cut-pro-1047","l":"Final Cut Pro 10.4.7","p":["Accelerates ProRes and ProRes RAW playback when using the Afterburner card on Mac Pro.","Adds HEIF support in Image Sequence exports.","Adds support for Canon XF-HEVC.","Adds support for fragmented MP4 format in HTTP live streaming.","Enhances graphics performance with support for multiple GPUs, including Radeon Pro Vega II and Radeon Pro Vega II Duo on Mac Pro.","Final Cut Pro 10.4.7 also includes the following:","Fixes an issue in which relinked media would sometimes result in empty thumbnails.","Grade HDR video with enhanced colour mask and range isolation tools.","HDR clips with LUTs applied now appear correctly when you use the Send to Compressor command.","HSL (hue, saturation and luma) controls in the Colour inspector let you select a range of colour with greater precision.","Improves reliability and performance when using the Flow transition.","Improves stability when applying noise reduction to a Rec. 2020 REDCODE RAW clip.","Lets you define keyboard shortcuts for the Add Colour Mask, Add Shape Mask and Toggle View Mask commands.","New Metal-based processing engine improves playback and accelerates graphics tasks, including rendering, compositing, real-time effects, exporting and more.","Optimises CPU performance with support for up to 28 CPU cores on Mac Pro.","Playhead now snaps to keyframes placed on audio components.","Released 7 October 2019","Select which internal or external GPU is used to accelerate graphics processing.","Simultaneously use up to three Pro Display XDR units connected to Mac Pro — two for the Final Cut Pro interface and one for dedicated monitoring.","Skimming an audio component now plays back audio as expected.","Surround panning keyframes now work as expected when reopening a library.","Timecode window remains visible when other applications are active.","View HDR video tone-mapped to compatible Standard Dynamic Range displays when using Final Cut Pro on macOS Catalina.","View, edit, grade and deliver stunning High Dynamic Range (HDR) video on Apple Pro Display XDR.","Waveform monitor lets you view luminance levels in High Dynamic Range (HDR) PQ media as you edit."]},{"i":"final-cut-pro-1046","l":"Final Cut Pro 10.4.6","p":["Released 21 March 2019","Detects media files that may be incompatible with future versions of macOS after Mojave and converts them to a compatible format.","Fixes an issue that could cause share destinations to disappear from the share menu after quitting Final Cut Pro.","Fixes an issue that could cause the workflow extension button to disappear when resizing the interface.","Fixes an issue in which the Select Clip command could incorrectly select the clip beneath the playhead.","Fixes an issue in which a successful share notification appears after the share operation was cancelled.","Fixes an issue in which frames saved to the frame browser in the Comparison Viewer may appear differently than they do in the viewer.","Fixes an issue in which frequency information for Hum Removal may not be visible in the audio inspector.","Fixes an issue in which relinked media may appear with black thumbnails in the browser and timeline.","Fixes an issue in which the share menu may be obscured behind the viewer when using Final Cut Pro in full-screen view.","Improves reliability when sharing video to YouTube."]},{"i":"final-cut-pro-1045","l":"Final Cut Pro 10.4.5","p":["Released Thursday, 17 January 2019","Improves performance when generating waveforms for clips with no audio channels.","Improves stability when sending a project to Compressor using the Shift-Command-E keyboard shortcut.","Improves stability when creating or editing titles with Arabic or Hebrew text.","Improves stability when switching tabs in the Timeline Index."]},{"i":"final-cut-pro-1044","l":"Final Cut Pro 10.4.4","p":["Released 15 November 2018"]},{"l":"Workflow extensions","p":["Extend the capabilities of Final Cut Pro with third-party extensions that open directly within the app interface.","Drag and drop clips between the extension window, browser and timeline.","Connect to existing third-party accounts to access projects, download media and purchase content.","Deep integration allows extensions to control timeline playback, navigation, clip markers and more.","Workflow extensions include tools for collaboration (Frame.io), stock media (Shutterstock) and asset management (CatDV)."]},{"l":"Batch share","p":["Export and transcode multiple clips in the browser — with or without a camera lookup table (LUT) — for fast turnaround of dailies and other reviews.","Select and export multiple projects.","Combine batch sharing with bundles to encode multiple files to multiple formats in one step.","Monitor export progress in the background tasks window."]},{"l":"Video noise reduction","p":["Apply the high-quality, drag-and-drop noise reduction effect to reduce grain and video noise.","Use simple controls to quickly adjust the look and amount of noise reduction.","Easily change processing order by dragging the noise reduction effect in the inspector.","The viewer shows the noise reduction effect when paused and disables the effect when skimming for optimal performance.","Apply 360° noise reduction to 360° video clips while preserving a flawless seam."]},{"l":"Timecode window","p":["View project and source timecode in one or more floating timecode windows.","Resize the timecode window and drag any one to a second screen.","Choose to display clip names and role names.","Colour coding in the timecode window matches the colours of roles in the timeline."]},{"l":"Comparison Viewer","p":["Open the Comparison Viewer to reference other frames for consistent colour grading across your project.","Quickly select the previous or next clip in the timeline as your reference frame.","Save any image to the frame browser to reference it later in the Comparison Viewer."]},{"l":"Tiny Planet","p":["Select the Tiny Planet mapping option when adding 360º video to a non-360° project to create interesting spherical looks.","Use the roll and tilt parameters to wrap your tiny planet effect into an infinite cylinder.","Adjust the pan parameter to move your subject horizontally within the tiny planet.","Animate the field of view to transition from a close up to a satellite view flying high above your footage.","Give 360° titles and generators a powerfully warped look by applying the Tiny Planet mapping option."]},{"i":"other-new-features-1","l":"Other new features","p":["View, edit and deliver closed captions in the SRT format, which is used by a wide range of websites, including Facebook.","Choose to burn closed captions into your video to ensure they appear at all times during playback.","When dragging in the timeline to select a secondary storyline, you can now select individual clips or the entire secondary storyline.","Instantly turn any photo or video into a comic book illustration using Comic filter, then refine the comic book look with simple controls to adjust ink edges, fill and smoothness.","New 360° transitions include Gaussian Blur, Bloom and a collection of wipes to seamlessly transition from one 360º clip to another.","Typing the first few letters of a font name jumps directly to the font in the list.","Final Cut Pro 10.4.4 also includes the following:"]},{"i":"360-video","l":"360° video","p":["360° clips added to equirectangular projects display correctly in auditions.","Fixes an issue where clicking the delete keyframe button when adjusting orientation incorrectly added a keyframe.","Fixes an issue where the keyframe navigation buttons disappear while adjusting orientation.","Resetting the orientation when using a VR headset correctly resets the Y axis.","Option dragging a connected 360º clip maintains orientation.","Dragging the orientation tool vertically in the Viewer using the on-screen controls works correctly.","Adding equirectangular media to a connected storyline that contains 360° video media remains equirectangular."]},{"l":"Audio","p":["Volume control is adjustable for a selected, connected clip.","Audio playback continues when resetting the peak indicators.","Audio playback continues when changing pan mode on an audio component.","Changing audio configuration of a clip properly clears any soloed audio components.","Fixes an issue where disabling and re-enabling audio channels when previewing an audio effect in the effects browser caused audio to be inaudible.","Fixes an issue where audio meters of third-party audio plug-ins became unresponsive when changing the order of audio effects in the Audio inspector."]},{"l":"Closed Captions","p":["Fixes an issue where disabling an invalid caption would hide other captions in the Viewer.","Embedded captions in shared files now display as expected in QuickTime Player 7.","Extract Captions from detached audio clips with embedded captions functioning as expected.","Fixes an issue where the position of an ITT caption was not being saved when set as default.","Fixes an issue where captions couldn't be embedded when connected to secondary storylines.","Fixes an issue where clicking on a CEA-608 caption near the end of a project caused Final Cut Pro to stop saving changes.","Captions can be double-clicked in the caption index to open them in the Caption editor in the timeline.","Caption timing is honoured when copying and pasting captions between projects.","Fixes an issue where Lane Headers unexpectedly move when selecting a caption and scrolling vertically."]},{"l":"Colour Correction","p":["Fixes an issue where the display order of LUTs after import were appearing alphabetically based on the content of folders.","Colour Wheels accurately reflect the values set when using the colour picker to choose a colour.","Fixes an issue where duplicate sets of built-in colour presets were sometimes visible in the Effects browser.","Reference level line in the waveform monitor remains locked in place until you click to move it or drag it out of the waveform monitor display to remove it.","Colour, Saturation and Brightness controls under the colour wheels can be reset individually within the Master, Shadows, Midtones and Highlights controls.","Fixes an issue where 10-bit HEVC rec.2020 HLG media in a Wide Gamut library would cause Final Cut Pro to quit unexpectedly.","Fixes an issue when manually white-balancing a 50fps HDR clip in an HDR library and project would cause Final Cut Pro to quit unexpectedly."]},{"l":"Effects","p":["Option clicking an audio effects preset opens all controls for each individual effect in the preset."]},{"l":"Multicam","p":["Fixes an issue where colour correcting an angle in the angle editor would cause the playhead to move unexpectedly to the beginning of the timeline."]},{"l":"Roles","p":["Select All no longer selects secondary storylines and toggles selection of components based on role of clip in selection."]},{"l":"Timeline","p":["Selected connected clips now properly follow the pointer and get placed where positioned in a non-zero starting project timeline.","Fixes an issue where an audio-only clip in a connected storyline plays video frames from the source clip that the audio is attached to.","Option-selecting connected clips now properly duplicates the expected clips in a non-zero starting project timeline.","Fixes an issue where connecting clips to a primary storyline draws overlapping audio components in expanded lanes.","Double-clicking to add an effect adds it to the top clip at the playhead position.","Join Clips and Join Captions combined into a single command in the Command Editor."]},{"l":"Titles","p":["Core Text engine ensures accurate display of Arabic letters, Indic vowel signs in Devanagari and Thai diacritics."]},{"l":"XML","p":["Shape and Effect Mask values are properly transferred via XML."]},{"i":"final-cut-pro-1043","l":"Final Cut Pro 10.4.3","p":["Support for viewing and editing ProRes RAW files from DJI Inspire 2 drone with the DJI D-Log setting.","Fixes an issue where some 25 fps-interlaced MXF files may display incorrectly.","Fixes an issue in which using Option-drag to duplicate clips in the timeline could move them later in the timeline.","Fixes an issue that caused some Panasonic P2 video files to be imported with mixed-down audio channels.","Fixes an issue in which English keyboard shortcuts were incorrectly applied to other languages.","Exported audio with certain plug-ins applied plays correctly.","Deleting unused render files from a Compound clip in the browser works correctly."]},{"i":"final-cut-pro-1042","l":"Final Cut Pro 10.4.2","p":["Fixes an issue in which selecting multiple clips using the Shift key or marquee selection could inadvertently select other clips in the timeline.","Fixes an issue in which XML imports may not preserve colour effect and colour board settings.","Dragging events between libraries no longer uses XML and correctly copies all settings and media.","Removes unnecessary settings that were included in XML 1.7 export."]},{"i":"final-cut-pro-1041","l":"Final Cut Pro 10.4.1"},{"i":"closed-captions-1","l":"Closed Captions","p":["Import caption files into a Final Cut Pro project to automatically create time-synced, connected captions in the timeline. See captions directly in the Viewer. Use the Inspector to adjust text, colour, on-screen location and timing. Create captions in multiple languages and formats in the same timeline Use the new Captions tab in the Timeline Index to search text, select captions and quickly switch between different versions of your captions. Attach captions to audio or video clips in the timeline. Extract embedded captions from video to view and edit the captions directly in Final Cut Pro. Send your project to Compressor in a single step, making it easy to create a compliant iTunes Store package with audio and video files, captions and subtitles Validation indicator instantly warns about common errors including caption overlaps, incorrect characters, invalid formatting and more. Embed captions in an exported video file or create a separate caption sidecar file. Share captioned videos directly to YouTube and Vimeo. Support for CEA-608 and iTT closed-caption formats."]},{"l":"ProRes RAW","p":["Support for ProRes RAW files lets you import, edit and grade using pristine RAW image data from the camera sensor.","RAW image data provides ultimate flexibility when adjusting highlights and shadows — ideal for HDR workflows.","Enjoy smooth playback and real-time editing on laptop and desktop Mac computers.","Highly efficient encoding reduces the size of ProRes RAW files, allowing you to fit more footage on camera cards and storage drives.","ProRes RAW preserves more of the original image data, making it an ideal format for archiving.","Work natively with ProRes RAW or ProRes RAW HQ files created by ATOMOS recorders and DJI Inspire 2 drone."]},{"l":"Enhanced export","p":["The new Roles tab in the share pane displays title, video and audio roles in a single, consolidated interface.","Quickly view and choose roles to be included in exported video files.","Roles settings and enabled/disabled states from the timeline are carried through to the share pane.","Embed closed captions in a video file or export a separate captions sidecar file in CEA-608 and iTT formats.","Final Cut Pro 10.4.1 also includes the following:"]},{"l":"360 VR","p":["Changing 360° metadata from rectilinear to equirectangular displays the clip's correct orientation.","360° Viewer has a new keyboard shortcut to reset field of view: Control-Option-Command-Delete.","Command Editor function of \"Reset Point of View\" is now listed correctly as Reset Angle.","VR headset drop frame warning preferences are honoured with a VR headset connected.","Stray pixels are no longer visible in high-contrast regions of a frame."]},{"l":"Accessibility","p":["It is easier to create custom project sizes when using accessibility applications, as accessibility width and height labels have been added for project properties."]},{"i":"audio-1","l":"Audio","p":["Volume automation is retained after a retiming effect has been applied.","Quicker display of custom audio effects interface from the audio Inspector tab when using Final Cut Pro in German.","Correct parameters are displayed in the Inspector when viewing a duplicate audio effect."]},{"l":"Browser","p":["Text in the notes field of the Inspector is saved automatically.","Text entered into the notes field in list view in the Browser displays in the Inspector.","Project thumbnails load correctly when the system is connected to an HDMI display."]},{"i":"colour-correction-1","l":"Colour Correction","p":["Colour wheel sliders retain values at 100 IRE for white and 0 IRE for black, with the ability to move above and below using colour correction controls.","Colour board exposure parameters are consistent for Rec. 2020 PQ projects.","Keyframes are properly maintained when copying and pasting colour wheel effects.","Custom white balance values are pasted correctly in Rec. 2020 HDR libraries.","View Masks selection displays the mask in the Viewer before colour grading parameters are changed."]},{"i":"effects-1","l":"Effects","p":["Camera LUT is applied correctly to deinterlaced media.","Fixes an issue in which the playhead jumps to a transition when adjusting the Ken Burns effect.","Fixes an issue where the Viewer displays black when adjusting a crop or Ken Burns effect using on-screen controls in an Audition clip.","Fixes an issue where Replicator edges appeared corrupt when exporting or rendering from projects set to Rec. 2020 HLG colour space.","Undo works correctly after a Luma Keyer effect has been applied.","Fixes an issue where a blade edit could reset an effect tick box."]},{"l":"Formats","p":["MXF Item Signal Standard is set to correct values for AVC Intra, DVCPRO HD and Uncompressed HD.","Fixes an issue where spanned Canon C300 clips are imported as multiple clips.","Clips over 4GB on FAT32 media cards including Sony and JVC source files are represented as one clip in the Import window and also honour the recorded start and stop points.","Fixes an issue where certain Sony SxS cards with large files would cause Final Cut Pro to quit unexpectedly.","XAVC/XDCAM plug-in returns the correct timecode values for BPAV file types.","Improved performance when stabilising RED RAW files on iMac Pro","Fixes an issue where the folder structure for the Panasonic AU-EVA1 is not recognised.","Loading spanned JVC XDCAM clips no longer causes Final Cut Pro to quit unexpectedly.","Failures while Sharing with AVCHD media now displays the corrupt file name in the error dialogue for easier troubleshooting.","Fixes an issue where, with multiple camera volumes mounted in the Import window, skimming in Filmstrip view displayed the incorrect clip."]},{"l":"General","p":["Changing media storage locations from one location to another and then back again on NFS storage updates the media links correctly.","After typing text into an Inspector metadata field, entering text into a second text field works correctly.","Relink Files button highlights after selection, allowing you to press Enter to commit the command.","Screen recordings created using QuickTime Player in French or Spanish apply retiming effects correctly when imported into Final Cut Pro.","Find People and Create Smart Collections After Analysis works correctly.","Fixes an issue where PSDs with an alpha from Pixelmator appeared cropped in the Viewer.","Fixes an issue where switching between video scopes and the Angle Viewer or the 360° Viewer caused the Angle Viewer to display incorrectly.","Fixes an issue where spatial conform causes Multicam clip angles to display incorrectly in the Angle Viewer."]},{"l":"Optical Flow","p":["Last frame of 100% reversed clip with optical flow retiming renders correctly.","Optical flow retiming renders correctly on clips with audio that is longer than video.","Reversed clips with optical flow applied now render in the timeline without requiring analysis on the entire source clip."]},{"l":"Rendering","p":["Render bars appear correctly on 29.97i (60 field) clip in a 30p project.","Background rendering works correctly on 29.97i (60 field) clip in a 30p project."]},{"l":"Share","p":["29.97i (60 field) clips in a 30p project export correctly.","YouTube “Visit” and “Tell a Friend” buttons open video URL correctly."]},{"l":"Stability and reliability","p":["Fixes an issue in which resetting a gradient control could cause Final Cut Pro to quit unexpectedly.","Fixes an issue in which quickly switching back and forth between View > Layouts and then selecting a colour picker could cause Final Cut Pro to quit unexpectedly.","Fixes an issue in which initiating an undo action after rearranging roles in the timeline index could cause Final Cut Pro to quit unexpectedly.","Improves stability when lifting two adjacent transitions from a Storyline.","Improves stability when skimming over or importing a corrupted MXF (MPEG-4) file.","Improves stability when importing a PSD file created in Pixelmator.","Improves stability when inserting a SxS card into a Sony SxS USB card reader.","Fixes an occasional hang after adding a title, relaunching Final Cut Pro and then modifying parameters."]},{"l":"Text","p":["On-screen controls for text in the Viewer are more responsive and properly sync with the Inspector."]},{"i":"timeline-1","l":"Timeline","p":["Timecode display no longer skips timecode or frames during processor-intensive tasks.","Rename Clip in the timeline applies to all selected clips."]},{"i":"xml-1","l":"XML","p":["Colour Balance effect now properly round trips via XML in HDR Libraries.","Final Cut Pro no longer considers the part of the library name after a full stop \".\" specified as the library location import option in FCPXML as a file extension."]},{"i":"final-cut-pro-104","l":"Final Cut Pro 10.4"},{"l":"360 VR editing","p":["Import and edit 360° equirectangular video in a wide range of formats and frame sizes. Output 360° video to a connected VR headset (Requires compatible VR headset, macOS High Sierra or later, and SteamVR. Video output to VR headset requires a Mac computer with discrete graphics running macOS High Sierra or later. 27-inch iMac with Radeon Pro 580 graphics recommended). Open the 360° viewer to simultaneously monitor headset and equirectangular views while editing. Option to track movement of a VR headset in the 360° viewer in Final Cut Pro. Add 360° effects including blurs, glows and more. Share 360° video directly to YouTube, Facebook and Vimeo. Use the 360° patch to instantly remove cameras and rigs from the scene. Use the Horizon overlay to easily change the orientation of 360° video directly in the viewer. Edit 360° video into a non-360° project and animate the pan, tilt and zoom. Place any graphic, still or video into a 360° project, then reposition and resize to fit perfectly into the 360° scene. Support for monoscopic and stereoscopic 360° video."]},{"l":"Advanced colour grading","p":["Dedicated colour tab in the inspector provides one location for all colour controls. Powerful new colour wheels improve upon traditional wheels with integrated sliders to adjust hue, saturation and brightness. Colour curves enable ultra-fine adjustments using multiple control points to change colour and contrast. Hue/saturation curves let you select a specific hue or brightness level to make adjustments while leaving other parts of the image unchanged. Use the eye dropper in the colour and hue/saturation curves to quickly sample parts of an image for adjustment. Balance Colour command includes an eye dropper for manual white balance. Apply custom LUTs from popular colour grading apps and sites. Adjust colour corrections over time with precise keyframe controls. Speed through colour correction using new keyboard shortcuts for colour adjustments and role-based timeline navigation. Colour presets are now located in the effects browser for skimmable preview and fast search."]},{"l":"High Dynamic Range","p":["Import, grade and deliver High Dynamic Range (HDR) video as Rec. 2020 HLG or Rec. 2020 PQ for HDR10. Output video to third-party HDR monitors using third-party I/O devices. Built-in waveform monitor indicates HDR brightness levels up to 10,000 nits. HDR Tools effect lets you easily tone map HDR to Standard Dynamic Range (SDR) output as well as convert between PQ and HLG formats. Option to view HDR as raw values when working without an HDR monitor."]},{"l":"Additional features","p":["Import your iMovie for iOS project directly into Final Cut Pro for advanced editing, audio work and finishing. Import, playback and editing of High Efficiency Video Coding (HEVC, also known as H.265) video clips and High Efficiency Image Format (HEIF) photos from Apple devices (HEVC and HEIF support requires macOS High Sierra or later). Send to Compressor to export video projects in the HEVC format. Adjust audio using effects plug-ins from Logic Pro X with redesigned, resizable interfaces. Support for Canon Cinema RAW Light format with additional software from Canon. Faster Optical Flow analysis using Metal 2. Support for NFS-based libraries and media. XML 1.7 with support for new colour grading controls, 360 VR effects and HDR."]},{"i":"issues-addressed-in-final-cut-pro-104","l":"Issues addressed in Final Cut Pro 10.4:","p":["Support for importing and exporting WAV files greater than 4GB as RF64 when using macOS High Sierra 10.13.","Fixes a stability issue that could occur when using Final Cut Pro on macOS High Sierra with a laptop in closed-display mode and attached to an external monitor.","Fixes an issue in which text in the Browser in List mode could occasionally disappear.","Enabling transform, crop or distort no longer closes Video Scopes.","Third-party asset management systems can now send low-resolution media to Final Cut Pro through XML import and later replace those low-resolution files with full-resolution files through another XML import.","Glue Tools Phantom Cine Toolkit works correctly with Phantom high-speed camera \"Cine\" files when editing in Final Cut Pro.","Support for new YouTube authentication protocols.","Contextual menu option to create a new project from a selection of one or more clips in the Browser.","Ability to use key commands in full-screen view when the Viewer is on a second display.","Alert dialogue appears when sharing a file if playback mode is set to proxy.","Square pixel photos at 960 x 720 and 1440 x 1080 resolutions no longer appear distorted.","The Toggle Fade In and Toggle Fade Out commands now appear under the Adjust Volume menu.","Press Ctrl-Tab to cycle through tabs in the Inspector when the Inspector is selected."]},{"i":"final-cut-pro-1034","l":"Final Cut Pro 10.3.4","p":["Resolves a stability issue when using keyboard shortcuts to trim in Secondary Storylines.","Fixes an issue in which certain editing operations could create an extra audio fade-in.","Fixes an issue in which the Share dialogue could incorrectly display a codec warning."]},{"i":"final-cut-pro-1033","l":"Final Cut Pro 10.3.3","p":["Ability to expand the width of the Inspector to view and adjust effect parameters.","Fixes issues with updating older libraries.","Faster redraw of audio waveforms when using clips that are being imported while recorded to disk.","Diamond icon in the Timeline Index to show when the user has modified display of roles in the timeline.","More colour options in the Role Editor.","Reveal in Browser correctly displays the location of the original clip in the browser.","Support for Canon Log 3 and Sony S-Log3/S-Gamut3 log processing.","Resolves an issue in which the viewer could occasionally disappear when exiting full screen.","Resolves issues in which Share to DVD could become unresponsive.","Improves font quality of DVD menu and chapter titles.","Improves image quality when creating a DVD.","Enhanced DVD User dialogue messages with embedded links to documentation."]},{"i":"final-cut-pro-1032","l":"Final Cut Pro 10.3.2","p":["Ability to add custom folders of audio files to the Sound Effects browser.","Using ripple delete on audio-only clips no longer disables the selected range.","Audio meters retain custom width after relaunch.","Improves responsiveness when editing very long projects.","Improves performance when exporting H.264 files and changing frame rate.","Exporting ProRes 4444 files with transparency using Compressor creates a correct alpha channel.","Fixes an issue in which adjusting the line spacing of multi-line titles only applied to the first line.","Fixes an issue in which secondary storylines with mixed roles could overlap in the timeline.","Fixes an issue that could prevent burning Final Cut Pro projects to DVD via Apple USB SuperDrive."]},{"i":"final-cut-pro-1031","l":"Final Cut Pro 10.3.1","p":["Fixes an issue with cropped images in the Viewer when the Language & Region System Preference is set to Spanish.","Fixes issues with updating libraries.","Fixes an issue when using Paste Attributes to copy colour correction between clips."]},{"i":"final-cut-pro-103","l":"Final Cut Pro 10.3"},{"l":"New Interface","p":["Redesigned dark interface puts the focus on your video.","Configure window layouts into custom workspaces for tasks such as organising and colour grading.","Fill a second display with the Timeline or hide the Timeline completely.","Expand the Inspector to full-screen height."]},{"l":"Magnetic Timeline 2","p":["Colour coding of clips based on roles such as dialogue, music and effects lets you understand your project at a glance.","Create, assign and customise the colours of roles to identify different types of audio and video clips.","Enhanced Timeline Index lets you drag and drop audio roles to rearrange the layout of your Timeline.","Focus button in the Timeline Index lets you highlight specific audio roles and collapse all others.","Show Audio Lanes button in the Timeline Index displays a structured Timeline layout with dedicated spaces for each audio role.","Add audio effects and keyframe audio volume changes to an entire role within a Compound Clip.","iXML support enables automatic creation and assignment of roles based on metadata from an audio field recorder.","Custom Roles assignment can be combined with iXML metadata during import.","Create and manage a unique set of roles for each Final Cut Pro library."]},{"l":"Wide Colour","p":["Images are now viewable in wide colour on supported Mac computers and external displays. Import, edit and deliver video in standard Rec. 601 and Rec. 709 colour spaces, or in wide Rec. 2020 colour space. Configure colour spaces for both libraries and projects. Log footage from ARRI, Blackmagic Design, Canon, Panasonic and Sony cameras, as well as RED RAW footage, can be manipulated in real time while preserving wide colour. Range check overlay in the viewer highlights areas out of the standard RGB range. Video scopes display wide colour in real time."]},{"l":"Support for the Touch Bar on MacBook Pro","p":["Tap to execute common functions such as volume control, fade in and out, and media import. Easily access advanced editing commands, including Override Clip Connections, Trim to Start and Trim to End. View your entire project at a glance and navigate with touch in the timeline overview."]},{"l":"More Video Formats","p":["MXF-wrapped Apple ProRes provides a flexible new format for broadcast delivery. MXF master file export uses audio roles to configure industry-standard channel layouts. Support for Canon Log2/Cinema Gamut and Panasonic V-Log. Support for Sony XAVC-L at 4K for the Sony PXW-FS7 and PXW-X70 cameras. Export AVC-Intra files"]},{"i":"additional-features-1","l":"Additional Features","p":["Ability to drag and drop clips, projects and events as XML with supported applications.","Ability to export a library to an XML file from Final Cut Pro via drag and drop.","Ability to move subroles between roles and merge subroles with other subroles in the Edit Roles window.","Ability to roll trim on adjacent connected clips.","After upgrading a library to Final Cut Pro version 10.3, you can now reveal and utilise any original iXML metadata on audio clips by selecting the clip and re-applying the role.","Align Audio to Video function quickly resets J or L cuts in the Timeline to straight cuts.","An arrow cursor has been added as a new option for the Shapes generator.","Audio effects have a global enable/disable button in the Inspector, such as video effects.","Audio metering works when previewing an audio source in the Music and Sound Effects Media Browser.","Batch relink from RED R3D files to QuickTime proxy files and back to the original R3D files instead of relinking one file at a time.","Camera angle, camera name and reel fields are now searchable using the text search function in the Browser.","Change the height of clips in the Timeline using keyboard shortcuts Command-Shift-Plus sign (+) or Command-Shift-Minus sign (-).","Choose Metadata Views in the Inspector for DPP Editorial/Services and DPP Media, which can be used when delivering Digital Production Partnership AS-11 master program files.","Consolidate custom Motion projects into individual Final Cut Pro libraries.","Copy and paste timecode to speed up numerical entry from text documents.","Customisable keyboard shortcuts for adding audio fades.","Disable an audio component in the Timeline by selecting it and pressing Delete.","Enhanced XML support lets you import projects and clips into existing events.","Final Cut Pro now correctly recognises and displays variable frame rates in the browser column when shooting XAVC-Long G with the Sony PXW-X70 camera.","Flow transition seamlessly merges jump cuts to remove pauses or mistakes in on-camera interviews.","Larger Media and Content browsers provide more space for viewing photo libraries, sound effects, music, titles and generators.","Launching Final Cut Pro by double-clicking a library in Finder bypasses the Open Libraries window.","New Broadcast Safe Effect allows you to limit video levels to a specific colour space including Rec. 601 PAL and NTSC, Rec. 709 and Rec. 2020.","New column in the Import window for Colour Profile, so you can view and select clips for import based on colour space.","New preference to assign default fade duration when adding audio fades via keyboard shortcut.","Option for continuous playback of clips in the Browser.","Option-click a component in the Audio Inspector to select that component while simultaneously disabling all other components.","Press Command-Up Arrow or Command-Down Arrow to select and navigate clips vertically in the Timeline.","Remove Effects and Remove Attributes commands let you delete specific effects from clips.","Search custom metadata in the Browser and Timeline.","Search Timeline Index for Auditions, compound clips, multicam clips and synchronised clips.","Skim and select ranges of audio files in the Music and Sound Effects browser.","SMB 3 network support enables library access on network-attached storage devices.","Support for 10-bit uncompressed MXF with standard definition video.","Support for exporting 16-bit TIFF sequences from both Final Cut Pro and Compressor.","Synchronised clips now display a distinctive badge to easily identify them in the browser and Timeline.","The Overwrite Edit function is now the fourth Edit Mode button in the top-left corner of the Timeline alongside Connect, Insert and Append.","Timecode and audio meters are now displayed in the Event Viewer.","Timecode effect displays clip name and source clip timecode in the Viewer and in exported files.","Use a Mini DisplayPort or HDMI cable for direct AV output to an external display at standard video resolutions.","Users can now create and save a custom default Generator, Title and Lower Third Title that can then be added to a Timeline with keyboard shortcuts.","When importing from a camera card with mixed media such as stills and video, the Import window displays a single volume.","When you open a Multicam clip in the Angle editor, Final Cut Pro now positions the playhead on the same frame you were viewing in the original Timeline.","XML 1.6 supports role-based audio components for Magnetic Timeline 2.","XML export of multicam clips now preserves the Angle ID, which greatly improves integration with asset management systems."]},{"i":"issues-addressed-in-final-cut-pro-103","l":"Issues addressed in Final Cut Pro 10.3:","p":["After resetting volume in the Inspector, new fade handles are not set to Linear.","After using the Share to Apple Devices 1080p option, the file information in iTunes no longer displays SD 1080.","After XML import, 4K Synchronised clips now correctly appear as 4K.","Audio levels remain consistent when trimming an Audition during playback.","Colour Masks work on clips with Log processing applied.","Fixes an issue where Log processing could remain on a clip even when None is selected in the Inspector.","Fixes an issue where the Basic Lower Third title could revert back to the original type style and not retain user changes after relaunching Final Cut Pro.","Generators with shape masks are exported at the correct size.","If you use the Replace function to replace a clip in the Timeline that has keywords and notes with a new clip that does not, the keywords and notes no longer remain in the Timeline Index.","Improved accuracy when subtracting colours from inside a Colour Mask.","In List View in the browser, audio waveforms now scale correctly to the width of the filmstrip.","Match Colour and Balance Colour can be copied and pasted to other clips using the Paste Attributes function.","Optical Flow on retimed clips with an alpha channel no longer causes transparent areas to become briefly opaque.","Resolves an issue in which lines are displayed across the timecode window on macOS Sierra.","Resolves an issue that could cause the Create Disc sharing option to hang on macOS Sierra.","Resolves an issue where Colour Balance could cause some Multicam Clips to turn white.","Support for colour-correcting Photoshop layers.","Synchronised clips now correctly round trip through XML export and import.","The Draw Mask effect works correctly when added to a clip in a Multicam angle.","Title guide snapping now works correctly.","Toggling between List View and Filmstrip View does not change the clip selection in List View.","Video-only export does not send audio out when you export a second time.","When launching Final Cut Pro with no libraries loaded, the app will remain open even if you decline to upgrade a library.","You can now continuously move the Colour Correction pucks with the arrow keys.","You can now exit full-screen playback when editing control points on a Draw Mask.","Zoom in the viewer works correctly after full-screen playback."]},{"i":"final-cut-pro-1023","l":"Final Cut Pro 10.2.3","p":["Customisable Default Effect lets you choose both a video and audio effect that is assigned to a keyboard shortcut.","4K export preset to create video files for Apple devices.","Improves speed when opening libraries on a SAN.","Resolves an issue that could affect the timecode display in the Dashboard on OS X El Capitan.","Import Canon XF-AVC including video files from the Canon C300 Mark II.","Ability to share video to multiple YouTube accounts.","Resolves an issue in which a disabled video effect could appear as Missing Effect when opening the project or when sharing to Compressor.","Addresses an issue in which black frames could appear in imported iPhone video clips that were trimmed on iPhone.","Fixes an issue that could cause the playhead to jump ahead when editing short titles.","Fixes an issue that could cause the timeline to stop playback when switching views in the Browser.","Fixes an issue in which points on a bezier shape could incorrectly switch from Linear to Smooth.","Fixes an issue in which some objects within Motion templates render with soft edges.","Adds iPhone 6s, iPhone 6s Plus, iPad Pro and Apple TV HD to the Apple Devices compatibility list in the Share window."]},{"i":"final-cut-pro-1022","l":"Final Cut Pro 10.2.2","p":["Native support for Sony XAVC-L and Panasonic AVC-Intra 4:4:4 up to 4K resolution.","Import Canon XF-AVC 8-bit video files with Canon plug-in.","Export interlaced H.264 video.","Asset management systems can include a library backup file when sharing from Final Cut Pro.","Fixes render errors that could occur when using reflective materials with 3D text.","Improves stability when swapping materials on 3D text with published parameters.","Improves performance when loading text styles.","Motion Title templates with published text layout parameters now export correctly.","Fixes an issue that could cause 3D text to appear dark when rendered.","Addresses issues with timing on certain animated effects."]},{"i":"final-cut-pro-1021","l":"Final Cut Pro 10.2.1","p":["Restores support for Panasonic AVCCAM video at 25p and 30p.","Improves accuracy when dragging to select a range in the Timeline.","Fixes an issue that may cause Final Cut Pro to quit on launch."]},{"i":"final-cut-pro-102","l":"Final Cut Pro 10.2"},{"i":"introducing-3d-titles","l":"Introducing 3D titles:","p":["Beautifully animated and easily customisable 3D text.","Simple templates to get started quickly.","Cinematic templates with built-in backgrounds and animations.","Large collection of text styles to create stunning looks with one click.","Customise your titles with hundreds of combinations of materials, lighting and edges.","Additional controls to adjust environment, shadows and more.","Instantly convert 2D titles to 3D.","Open any title in Motion to add multiple lights, cameras and tracking."]},{"i":"advanced-effects","l":"Advanced effects:","p":["Display up to four video scopes simultaneously.","Apply super ellipse Shape Mask to any clip.","Apply Draw mask to any clip, with options for linear, bezier or B-spline smoothing.","New shape and colour mask controls for every effect.","Instantly display the alpha channel for any effect mask.","Save custom effects as presets for quick access.","Colour Board merged into the new Colour Correction effect.","Rearrange the processing order of the Colour Correction effect.","Improved keyframing with better motion smoothing.","Improved optical flow for beautiful slow motion on a wider range of content.","Better performance of FxPlug plug-ins and built-in effects that use multiple frames such as Visual Echo and Trails."]},{"i":"camera-formats","l":"Camera formats:","p":["Support for Panasonic AVC-Ultra codec family.","Support for Sony XAVC S format.","Import Sony XAVC and XDCAM formats without separate plug-in.","Support for JVC H.264 Long GOP format.","GPU-accelerated RED RAW processing with support for dual GPUs.","Support for RED RAW anamorphic formats."]},{"i":"additional-features-2","l":"Additional features:","p":["You can now use Smart Collections at the event and library level.","Import window consolidates all options into a single sidebar.","GPU rendering when using Send To Compressor with support for dual GPUs.","CABAC entropy mode for multi-pass encoding.","XML 1.5 for third-party interchange. For legacy third-party applications, XML 1.4 continues to be supported."]},{"i":"final-cut-pro-102-also-includes-the-following","l":"Final Cut Pro 10.2 also includes the following:","p":["Faster drawing of audio waveforms, which improves performance especially when editing over a network.","Transform controls work correctly with photos in a secondary storyline.","Resizable Filter window for searching.","Freeze frames copy media across multiple libraries.","Slo-mo video clips from iPhone appear in the Browser with a badge.","Full-screen playback does not automatically superimpose transport controls.","Improved performance when skimming Long GOP video including AVCHD.","Exporting a Master File using i-Frame codecs such as ProRes can play in QuickTime Player before the export is completed.","Support for XAVC S video recorded at 120 fps and 240 fps.","MXF-wrapped AVC-Intra and Uncompressed files export faster."]},{"i":"final-cut-pro-1014","l":"Final Cut Pro 10.1.4","p":["Native MXF import, edit and export with the Pro Video Formats 2.0 software update.","Option to export AVC-Intra MXF files.","Support for import and editing with Panasonic AVC-LongG media.","Fixes issues with automatic library backups.","Fixes an issue where clips with certain frame rates from Canon and Sanyo cameras would not import properly.","Resolves issues that could interrupt long imports with App Nap enabled.","Stabilisation and Rolling Shutter reduction works correctly with 240 fps video."]},{"i":"final-cut-pro-1013","l":"Final Cut Pro 10.1.3","p":["Fixes reliability issues when burning a Blu-ray Disc or creating a Blu-ray disk image.","Colour corrections you paste between clips are retained during Share.","Effects you apply to clips in the browser in prior versions of the app are retained when adding those clips to the timeline.","XML round-trip imports correctly when using gap clips.","Improves reliability of automatic library backups.","Improves stability when skimming growing files in the Browser."]},{"i":"final-cut-pro-1012","l":"Final Cut Pro 10.1.2","p":["Adjust relative and absolute volume of a clip or range selection.","Apply a standard (Rec. 709) look in real time to High Dynamic Range and wide colour gamut video from ARRI, Blackmagic Design, Canon and Sony cameras.","Audio recording improvements including countdown and automatic Audition creation from multiple takes.","Automatically apply an ARRI embedded 3D LUT from the new AMIRA camera.","Create keywords from Finder Tags when importing media.","Easily delete optimised, proxy and rendered media from within Final Cut Pro.","Export entire library as a single XML file.","Fast export of cuts-only projects containing XDCAM media.","Faster opening, closing, copying and overall performance when working with large libraries.","Final Cut Pro 10.1.2 also addresses the following issues","Import a clip by dragging directly into the Browser.","Improved speed and accuracy when synchronising clips.","Linear and smooth motion interpolation between keyframes applies to both time and distance.","Optimised, proxy and rendered media can be stored at any location outside the library.","Option to show only unused media in the Browser.","Option to sort events by date or name in the Libraries list.","Selecting a library displays key metadata in the Inspector.","Share 4K video to Vimeo.","Support for Apple ProRes 4444 XQ.","Used media indicators for Compound, Multicam and Synced clips.","View and set storage locations for each of your libraries using the Library Properties inspector."]},{"i":"final-cut-pro-1011","l":"Final Cut Pro 10.1.1","p":["Preserves media files if an external drive or network is disconnected while consolidating a library.","Resolves an issue with loading audio content in the Music and Sound Browser.","Fixes a stability issue when applying a Motion effect with Scroll Text behaviour.","Faster switching between proxy media and original or optimised media.","Improves Timeline responsiveness with very large projects."]},{"i":"final-cut-pro-101","l":"Final Cut Pro 10.1","p":["4K content including titles, transitions and generators.","5.1 surround sound audio originating from a camera such as AVCHD will no longer be down-mixed to stereo during import.","Ability to roll audio with J- and L-cut splits open.","Add precise retime speeds by entering them numerically in the timeline.","API for custom Share operations using third-party software.","Audio fade handles on individual audio channels in the timeline.","Automatically back up libraries to a user-specified drive or network location.","Blade and move audio in J- and L-cuts.","Clips can be trimmed completely out of a timeline when using the rolling trim function.","Custom project frame sizes.","Detach audio with Multicam clips in the timeline to manipulate audio and video separately.","Easily move, copy and paste multiple keyframes.","Easily open and close individual libraries to load just the material you need.","Effects parameters, fonts and text size included in XML metadata.","Final Cut Pro 10.1 also improves overall stability and performance, and addresses the following issues:","FxPlug 3 with custom plug-in interfaces and dual-GPU support.","If you have transcoded RED RAW files to ProRes through a third-party application, you can relink to the original RED files within Final Cut Pro.","Import photos from iOS devices.","Improved image stabilisation with InertiaCam and Tripod mode.","Improved performance when modifying or adding keywords to many clips at once.","Improved performance with large projects.","Improved support for growing media and edit while ingesting.","It is much easier to move clips with transitions in the timeline and lift them out of the Primary Storyline with transitions preserved.","Join Through Edit command removes bladed cuts to clips in the timeline.","Libraries allow you to gather multiple events and projects within a single bundle.","Loading a library from a SAN is significantly faster.","Make video- or audio-only edits into the timeline with Multicam Clips as sources.","Media management functions can be cancelled with undo.","Native support for .MTS and .MT2S files from AVCHD cameras.","Non-rippling retime option.","One step Replace and retime.","Optimised playback and rendering using dual GPUs in the new Mac Pro.","Option for the linear animation with Ken Burns effect.","Option to hide the Event browser to gain more screen space for viewing.","Option to import camera media to locations inside or outside a library.","Project Snapshots let you quickly capture the project state for fast versioning.","Proxy and playback quality controls accessible in Viewer menu.","Quitting the application cancels background processes.","Share directly to Chinese video sites Youku and Tudou.","Share directly to YouTube at 4K resolution.","Spanish language localisation.","Support for portrait/landscape metadata in still images.","Through edits displayed on all clip types.","Transform correctly maintains linear motion on all keyframes.","Used media indicators on source clips.","Video monitoring up to 4K via Thunderbolt 2 and HDMI on selected Mac computers.","You can eject drives once the libraries on those drives are closed."]},{"i":"final-cut-pro-1009","l":"Final Cut Pro 10.0.9","p":["Addresses issues resulting in green artefacts when using Sony XAVC media.","Fixes several issues related to interlaced media and retimed segments, which could cause exports to fail.","Includes stability improvements."]},{"i":"final-cut-pro-1008","l":"Final Cut Pro 10.0.8","p":["Support for Sony XAVC codec up to 4K resolution.","Option to display ProRes Log C files from ARRI ALEXA cameras with standard Rec. 709 colour and contrast levels.","Resolves an issue where some third-party effects generated green frames during render.","Resolves performance issues that could occur with certain titles and effects.","Time-reversed clips render in the background.","Ability to use key commands to adjust Clip Appearance settings in the timeline.","Ability to view reel number metadata located in the timecode track of video files.","Mono audio files in a surround project export with correct volume levels.","Drop zones no longer reset to the first frame of video after application restart.","Fixes a performance issue that resulted from selecting multiple ranges on a single clip.","Fixes an issue where the Play Around function did not work properly on certain clips when viewed through external video devices."]},{"i":"final-cut-pro-1007","l":"Final Cut Pro 10.0.7","p":["The Letterbox effect Offset slider is restored.","Fixes an issue that could occur when creating a single-layer DVD.","Fixes an issue in which some third-party effects could cause Final Cut Pro to stop responding during background rendering.","Adds support for editing MXF files that are still ingesting.","Fixes an issue with rendering Motion Templates containing Image Units.","Fixes an issue with the display of the Modify RED RAW settings button in synchronised and compound clips.","Fixes an issue with the upload of clips that are larger than 1GB to Vimeo.","Fixes an issue in which an incorrect frame size is used with filters on two adjacent clips with different pixel aspect ratio."]},{"i":"final-cut-pro-1006","l":"Final Cut Pro 10.0.6","p":["Ability to add chapter markers in the timeline for export to video files, DVD and Blu-ray disc, with an option for setting custom poster frames.","Ability to import SDII audio files.","Ability to manually tag clips as anamorphic using the Anamorphic Override option in the Inspector.","Add a freeze frame to your timeline with a single keystroke (Option-F).","Apply a drop shadow effect with intuitive on-screen controls to adjust position, edge falloff, angle and more.","Background Rendering uses the GPU on the graphics card, enabling CPU-based processes such as transcoding and proxy creation to continue uninterrupted while effects are rendering.","Blade All command allows the blade tool to cut across all storylines and connected clips in a single click. Press Shift while blading to blade all.","Clicking on a clip in the timeline selects the clip without moving the playhead. Option-clicking on a clip selects the clip and moves the playhead.","Combine audio from different angles within a Multicam Clip (Command-Option-click in the Angle Viewer).","Compound Clip creation in the timeline now saves the clip in the Event Browser for re-use in other projects. Changes to the original Compound Clip will update all copies of that Compound Clip across projects. The Reference New Parent Clip command allows you to select any Compound Clip in the timeline and save a duplicate to an event in a single step.","Custom metadata views can be created and used as presets for exporting XML. Importing XML with custom metadata fields preserves data in Final Cut Pro.","DSLRs and other cameras that use the Picture Transfer Protocol (PTP) for data transfer will now appear in the Import window when directly connected to the computer.","Dual viewers, each with a video scope display, let you compare shots to match action and colour. Scopes include a vertical layout option so they can be displayed below the Viewer and the Event Viewer.","Expand multichannel audio files directly in the timeline for precise editing of individual audio channels.","Export a selected range in the Event Browser or the project timeline.","Final Cut Pro 10.0.6 improves overall stability and performance, and adds these fixes:","Flexible Clip Connections allow you to keep Connected Clips in place by pressing the ` key when slipping, sliding or moving clips in the Primary Storyline.","Generators now support the 1.8:1 aspect ratio, which is used with a range of frame sizes.","Improves behaviour when moving clips to different vertical positions in the timeline.","Improves system performance and smaller project sizes when working with Compound Clips.","Loop Play with Play Selection enabled will continuously loop playback while making adjustments in the Inspector.","MXF plug-in support that allows you to work natively with MXF files from import through to delivery using third-party plug-ins. This is ideal for importing archived media with custom metadata and exporting media with metadata to an asset management system.","Paste attributes window lets you choose specific effects to copy between clips.","Range selection now preserves start and end points on clips in the Event Browser. Use the Command key to create multiple range selections, even on a single clip.","RED camera support with native REDCODE RAW editing up to 5K and optional transcode to Apple ProRes 4444 or ProRes Proxy. Ability to adjust RAW images with debayer controls directly in Final Cut Pro.","Redesigned Share interface for streamlined exporting. Deliver to multiple destinations in one step by creating a custom Bundle.","Select a new default transition by Control-clicking on the thumbnail in the Transitions Browser and choosing Make Default. The default transition can be applied to any clip by pressing Command-T.","Unified import window provides single interface for transferring media from file-based cameras, networks and folders of files. Choose between Filmstrip and List views for browsing media, and save frequently used locations to the Favourites sidebar for fast access.","Video dissolves now default to the linear Video look instead of the Film look that includes some ease in and ease out.","When duplicating an event or project where media resides on shared storage, only the links will be copied. This speeds up duplicating or moving events and projects to another editing station that is linked to the same shared media.","XML 1.2 features improved metadata import and export for richer integration with third-party apps."]},{"i":"final-cut-pro-1005","l":"Final Cut Pro 10.0.5","p":["Final Cut Pro 10.0.5 improves overall stability and is enhanced for the MacBook Pro (Retina, Mid 2012).","Fixes an issue in which changes were not properly saved when working off an SAN.","Improves performance when switching between projects on a SAN.","Fixes an issue that could lead to Multicam Clips losing their Roles after relaunching Final Cut Pro.","Allows for YouTube uploads longer than 15 minutes.","Correctly marks in and out points for spanned clips imported using the Sony Camera Import Plug-in PDZK-LT2."]},{"i":"final-cut-pro-1004","l":"Final Cut Pro 10.0.4","p":["Improves image quality and responsiveness of broadcast monitoring with compatible third-party PCIe and Thunderbolt I/O devices.","Improves performance of multicam syncing and editing.","Adds language support for Simplified Chinese.","Adds a Share option for 1080p video on compatible iOS devices.","Final Cut Pro 10.0.4 also addresses the following issues:","Assigns stereo as the default audio channel setting for new projects.","Includes multicam metadata in XML project export.","Fixes an issue in which video superimposed over a background with an alpha channel could appear differently in Viewer before and after render.","Fixes an issue that caused some titles to be rendered again after each application launch."]},{"i":"final-cut-pro-1003","l":"Final Cut Pro 10.0.3","p":["Ability to import and edit layered Photoshop graphics.","Ability to reorder colour corrections in the Inspector.","Ability to search text added to Favourite and Reject ranges.","Advanced chroma keying with controls for colour sampling and edge quality.","Batch offset for clip date and time.","Beta version of broadcast monitoring with third-party PCIe and Thunderbolt I/O devices.","Final Cut Pro 10.0.3 also improves overall stability and performance, and addresses the following issues:","Fixes an issue in which constant speed retiming was not properly applied when using the Paste Effects command.","Fixes an issue that affected audio solo while skimming.","Improves keyframing behaviour in the Inspector, with keyframes automatically added when moving to a new point in time and adjusting a parameter.","Improves performance when applying an effect from the Effect Browser.","Improves performance when editing text in titles.","Media relink for manual reconnect of projects and Events to new media.","Modifies transition behaviour so that all newly added transitions use available media and maintain project length.","Multicam editing with automatic sync and support for mixed formats, mixed frame rates and up to 64 camera angles.","Multiple improvements to the Colour Board, including new key commands, editable numeric fields and adjustable parameters that act like infinite sliders when dragged.","Resolves issues related to using Synchronise Clips with media containing a silent audio channel.","Reveal in Event Browser shows clip range in the filmstrip while in List View.","XML 1.1 with support for primary colour grades, effect parameters and audio keyframes."]},{"i":"final-cut-pro-1002","l":"Final Cut Pro 10.0.2","p":["Fixes an issue in which a title may revert to the default font after restarting Final Cut Pro.","Resolves an issue that could cause files recorded with certain third-party mobile devices to play back incorrectly.","Addresses a stability issue caused by changing the start time on a Compound Clip."]},{"i":"final-cut-pro-1001","l":"Final Cut Pro 10.0.1","p":["Access the new Tribute theme with four animated titles and a matching transition.","Add transitions to connected clips in a single step.","Adds the ability to always use the startup volume or Time Machine volumes for media storage.","Adds the ability to eject camera cards while Final Cut Pro is open.","Adds the ability to import DSLR video from Aperture and iPhoto libraries through the Photos Browser.","Enable full-screen view in OS X Lion.","Export audio and video stems as a single multitrack QuickTime movie or as separate files using Roles.","Fixes an issue in which alpha channels in transitions were not properly preserved.","Fixes an issue in which custom ICC colour profiles affected the image in the Viewer.","Import and export XML to support third-party workflows.","Improves audio syncing performance and the ability to sync different frame sizes and frame rates.","Improves the performance and reliability of automatic saving.","Improves the quality of video retiming when applying slow motion or when working with interlaced video.","Place Projects and Events on Xsan to improve collaboration between editors.","Resolves an issue that could cause titles to accidentally move in the timeline.","Set custom starting timecode for your projects.","Speed up delivery with GPU-accelerated export.","This update also improves overall stability and performance, and addresses the following issues:"]},{"l":"Discuss this page"}],[{"l":"iPad","p":["This section is dedicated to Final Cut Pro for iPad."]},{"l":"User Manual","p":["You can find the Final Cut Pro for iPad manual here."]},{"l":"Apple Support","p":["You can find the official Apple Support site here."]},{"l":"Introducing Final Cut Pro for iPad","p":["The amazing Iain Anderson has released a new free online training course for Final Cut Pro for iPad.","You can learn more here."]},{"i":"richard-taylor---fcpxtv","l":"Richard Taylor - FCPX.TV","p":["Richard Taylor has an EPIC list of all the latest iPad videos and articles on FCPX.TV."]},{"i":"final-cut-pro-for-ipad-tutorials-tips--tricks","l":"Final Cut Pro for iPad Tutorials, Tips & Tricks","p":["Bascomb Productions has a YouTube series covering Final Cut Pro for iPad."]},{"l":"Transfer Toolbox","p":["Transfer Toolbox allows you to convert Final Cut Pro (for Mac) libraries into Final Cut Pro (for iPad) projects!","You can now easily get from your Desktop to your iPad! Simply drag your existing Final Cut Pro library into the application's drop zone.","You should ensure your library only has a single event, and all project timecode starts at 00:00:00:00.","All Motion Content and Media should be contained within the Library.","If you have custom fonts on the Mac Final Cut Pro library, you should manually install them on the iPad before importing the project.","Transfer Toolbox requires Final Cut Pro 10.6.6 or later."]},{"l":"Using an iPad as a second display for your Mac","p":["You can use your iPad as a second display for your Mac, and make use of Final Cut Pro's Dual Displays Workspace.","You can find about how to setup Sidecar on Apple's support site."]},{"i":"using-an-ipad-as-av-output-for-mac","l":"Using an iPad as A/V Output for Mac","p":["You can absolutely use your iPad as an A/V Output for Final Cut Pro, however it requires some extra setup.","First you must install NDI Tools on your Mac by downloading here.","Once you've installed and restarted your Mac, an NDI option will appear in your A/V Output settings in Final Cut Pro:","You can adjust the NDI video format and frame rate in System Preferences:","You can then install an app such as NDI Monitor on your iPad.","For best quality, it's important to enable Hi-Res NDI and Retina Display in the NDI Monitor settings in the Settings app.","You can now stream from your Mac to your iPad over NDI, just like a regular A/V Output device.","You can learn more about how to Play media on an external display in Final Cut Pro for Mac on the Apple support site.","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Accessibility","p":["This section is dedicated to Accessibility."]},{"l":"Mac","p":["Here's an amazing video of Christopher Hills using Final Cut Pro on Mac using Switch Control.","Apple believe that technology should be accessible to everyone — including Sady Paulson, who uses Switch Control on a Mac to share her thoughts on doing what you love.","It's likely that many people don't realize that a blind person is able to edit videos. Unsightly Opinions shows how they edit their videos as blind and low vision editors using their editor of choice, Final Cut Pro X."]},{"l":"iPad","p":["Here's an amazing video of Christopher Hills using Final Cut Pro on iPad using Switch Control."]},{"l":"Discuss this page"}],[{"l":"Camera Formats","p":["This page contains a collection of the latest Final Cut Pro Camera Formats.","You can find the full list of Cameras supported by Final Cut Pro on Apple's site.","Is there a camera format missing? Make an edit!"]},{"l":"B"},{"l":"BRAW Toolbox","p":["BRAW Toolbox allows you to import Blackmagic RAW files directly into Final Cut Pro without transcoding.","No more waiting. No more transcoding. No more massive ProRes files.","Save hours of time, and terabytes of storage!","The BRAW Toolbox Workflow Extension allows you to prepare all of your footage prior to import. You can easily and quickly change all the RAW parameters, and copy and paste settings from different BRAW clips. You can even save and restore Presets that contain specific parameters, saving time for example, if you always use the same Gamut & Gamma.","Once imported into Final Cut Pro, you can still modify the RAW parameters at any time.","You can even keyframe the ISO, Exposure, Color Temp, Tint and Custom Gamma Controls!","BRAW Toolbox comes with a Metadata View that allows you to view every piece of BRAW Metadata directly within the Final Cut Pro Inspector.","There are automatic Decode Quality options for both HD and UltraHD projects, and you can also work at a low Decode Quality, then apply a \"Global Setting\" to force Full Quality prior to exporting - meaning you never have to worry about creating proxies for performance. BRAW Toolbox gives you complete freedom and flexibility.","You can also use the Workflow Extension to send your project/timeline to DaVinci Resolve for grading - all using BRAW files directly from the camera!","BRAW Toolbox requires Final Cut Pro 10.6.5 or later."]},{"l":"User Reviews","p":["This developer did what Apple Couldn't/Wouldn't This app is a great solution to a common problem Final Cut Pro users have: getting Blackmagic Raw footage into the app. At first it might seem like a bizarre workaround, but you only have to go through the process of setting it up once, and then you can easily import your Blackmagic footage right into FCP. Honestly, from that point on it works so incredibly well that I really struggle to understand why Apple has made it so difficult. Except it's not difficult, not anymore. This is great software: a small developer solving a problem that a big one (Apple) can't. That's innovation, my friends.","moosefuel – Feb 3, 2023 (Apple App Store Review)","The tool we have dreamed of is here. For lovers of Final Cut Pro who have struggled with the endless BRAW proxy XML loop, this is a dream come true. BRAW natively inside Final Cut. Controls for RAW adjustments at your fingertips. Is it the full Resolve interface? No, doesnt need to be, Between BRAW ToolBox and FCP, most edits can be done natively without ever having the leave the Final Cut NLE. If you shoot any BRAW camera, this is the best of both worlds if you live in the FCP ecosystem. Thank you latenightfilms team for this, its a huge step forward and a wonderful plugin.","Chasing Photography – May 16, 2023 (Apple App Store Review)","Perfect! Just perfect.","Viaswage – Feb 18, 2023 (Apple App Store Review)","Great! Love this! thank you!","NarimanGafurov – Feb 6, 2023 (Apple App Store Review)","UMMMMMM THANK YOU, YOU'RE A GENIUS I've needed this for years!!!!!! You are a genius and this is incredible!!! Thank you so much!!! No clue how BM never made this.","gordonfromvan – Feb 4, 2023 (Apple App Store Review)","I've been waiting for this! I can finally use my two Blackmagic cameras and shoot in BRAW. As a Final Cut Pro editor, I'm really excited. The app is working great! I really appreciate the team at LateNite for all the hard work it took to get this up and running. Well worth the money to be able to handle BRAW seamlessly. Scott_Hartman – Feb 2, 2023 (Apple App Store Review)","Boom! Such an amazing plugin and works fantastic! Grant Digital Sky – Feb 2, 2023 (Apple App Store Review)","Absolutely Amazing. Solves a massive problem and works beautifully! Jmurphy8503 – Jan 31, 2023 (Apple App Store Review)","The impossible made possible. Amazing to work natively with BRAW in my favourite editor. Thank you! MadMitch1993 – Jan 30, 2023 (Apple App Store Review)"]},{"l":"C"},{"l":"Canon RAW Plugin","p":["Canon RAW Plugin for Final Cut Pro is plugin software for importing and editing Canon RAW(CRM) clips with Final Cut Pro, which runs on macOS systems made by Apple Inc."]},{"l":"R"},{"l":"RED Apple Workflow Installer","p":["The RED® Apple® Workflow Installer is for Mac® systems running Final Cut Pro. You can use the plugins in the RED Apple Workflow Installer to import REDCODE® RAW clips as native REDCODE media or wrapped in QuickTime®. You also have the option to transcode clips directly to Apple ProRes codec."]},{"l":"Discuss this page"}],[{"i":"360-video","l":"360° Video","p":["Using Final Cut Pro, you can import, edit, and share 360° video to provide your audience with immersive viewing experiences.","360° video (sometimes called spherical video) is footage captured by special cameras that point lenses in all directions to create a panoramic sphere of video that surrounds the viewer—as if the video were projected onto the inside of a hollow globe.","Viewers can watch 360° video in several ways. With a virtual reality (VR) headset, viewers can turn their heads to see different parts of a scene. This creates the illusion of being physically in the space. Viewers can also watch 360° video and navigate to all parts of the scene by turning or rotating an iPhone or iPad or by scrolling a rectangular window on a computer."]},{"l":"Alex4D Blog Post","p":["Alex4D has written a very detailed post covering everything you need to know about 360° spherical video"]},{"l":"Final Cut Pro User Guide","p":["You can read about 360° Video on the Final Cut Pro User Guide."]},{"i":"rectilinear-s3d-sources-within-a-stereoscopic-360-project","l":"Rectilinear S3D sources within a stereoscopic 360° project","p":["Rectilinear S3D is not natively supported in Final Cut Pro, but it is pretty easy to get this workflow going with some knowledge of Compound Clips and masking.","Here's an example of what can be done with Final Cut Pro:","Since, by default, any rectilinear “normal” clip will be projected into stereoscopic space within the stereoscopic equirectangular, all you have to do is connect the left clip on top of the right clip, make the left clip a compound clip, and then crop or mask out the bottom 50% of the compound clip to reveal the right clip underneath.","If you would like to see Rectilinear S3D natively in Final Cut Pro, please file an enhancement request.","Currently there's no way to master rectilinear S3D (non-360) on its own.","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Articles","p":["This section of the site is dedicated to linking to great external articles, as well as providing a space to write FCP Cafe specific articles.","There's also a massive collection of Final Cut Pro articles over at macProVideo.com.","Richard Taylor also links to a lot of great articles on FCPX.TV.","In the coming weeks we'll update this page with direct links to relevant and useful articles."]},{"l":"Pro Video Coalition","p":["Pro Video Coalition has an awesome collection of Final Cut Pro blogs and articles.","Why ProRes? (August 2022) by Iain Anderson","Understanding Color Management (August 2022) by Iain Anderson"]},{"i":"fcpco","l":"fcp.co","p":["A New Script-focused Feature Film Workflow for Final Cut Pro (Iain Anderson - 11 Nov 2022)","A Week with the New Mac Studio M1 Ultra and Studio Display (Peter Wiggins - 17 Mar 2022)","Apple Motion: Sweeping Lines Logo Tutorial (Peter Wiggins - 08 Feb 2023)","Apple Response to “Final Cut Pro in TV and Film” Open Letter (Peter Wiggins - 18 May 2022)","Apple Updates Final Cut Pro to 10.6.2, Motion to 5.6.1 and Compressor to 4.6.1 (Peter Wiggins - 12 Apr 2022)","Apple: How the Mac Studio Was Built for the New Generation of Creative Pros (Peter Wiggins - 24 Mar 2022)","Backup a Large RAID Using the OWC Drive Dock (Peter Wiggins - 31 Oct 2022)","BeatMark Pro: Music-driven Video Editing for Final Cut Pro (Alex Raccuglia - 27 Apr 2022)","BRAW Toolbox and Gyroflow Toolbox (Iain Anderson - 26 Jan 2023)","Bright Future; Slow Progress (Iain Anderson - 27 Dec 2022)","Diary of a Final Cut Pro Plugin Writer #1 (Peter Wiggins - 28 Oct 2022)","Dupe Detection and ML Voice Isolation Coming in 10.6.2 (Peter Wiggins - 23 Mar 2022)","evrExpanse 3 Adds Features for EXIF Metadata XML Import into Final Cut Pro (Peter Wiggins - 08 Feb 2023)","fcp.co is an entire site dedicated to Final Cut Pro, so there's lots of great articles there.","FCP.co What Happened & Are You Back? (Peter Wiggins - 27 Oct 2022)","Get Better Vignettes in Final Cut Pro - No Plugins! (Peter Wiggins - 01 Nov 2022)","Get More Thunderbolt Ports With a Thunderbolt Hub (Peter Wiggins - 09 Nov 2022)","In Love with Final Cut Pro (Joaquin Gonzalez Dajer - 10 Feb 2023)","Learn FCP Live with Nick Harauz (Nick Harauz - 25 May 2022)","Native BRAW Editing in Final Cut Pro with Chris Hocking (Peter Wiggins - 08 Feb 2023)","New Macs with M2 Chips and macOS Ventura Announced at WWDC (Peter Wiggins - 07 Jun 2022)","October 2022: Updates to Final Cut Pro, Motion, and Compressor (Iain Anderson - 26 Oct 2022)","Official Launch Day of FMC's FCP Training Courses & Certification (Peter Wiggins - 23 May 2022)","Solve Review and Approval Problems for Music on Video with Freque (Peter Wiggins - 04 Nov 2022)","Sound for Video Solved! (Gabe - 17 May 2022)","The Very Best One-Key Shortcuts for Final Cut Pro (Iain Anderson - 18 Nov 2022)","Timbrée or How to Use Stamps to Build a Story (Peter Wiggins - 09 May 2023)","Use Movie Clips in YouTube Videos with a Couple of Clicks (Peter Wiggins - 03 Nov 2022)","Using an OLED TV as a Monitor — Crazy or Genius? (Iain Anderson - 29 Nov 2022)","Watchtower of China: Leonardo Dalessandri Releases Another Cinematic Masterpiece, Entirely Created in Final Cut Pro (Ronny Courtens - 21 Jun 2022)","Why I Switched from Premiere Pro to Final Cut Pro (Peter Wiggins - 15 Mar 2022)"]},{"l":"Discuss this page"}],[{"l":"Educational","p":["This page is designed to offer information for educational institutes such as schools, universities and colleges."]},{"l":"Educational Pricing","p":["Educational institutions can get a 50% discount when they purchase 20 or more copies through Apple School Manager.","Please contact Apple if you need help with Educational Pricing."]},{"l":"Pro Apps Bundle for Education","p":["The Pro Apps Bundle is a collection of five industry-leading apps from Apple that deliver powerful creative tools for video editors and musicians.","The bundle includes the following software, all optimised for macOS and the latest Mac hardware:","Final Cut Pro","Logic Pro","Motion","Compressor","MainStage","You can learn more here."]},{"l":"Discuss this page"}],[{"l":"History","p":["This section is dedicated to the history and backstory of Final Cut Pro.","In the world of video editing and post-production, few software have a legacy as rich as Apple's Final Cut Pro. Known for its powerful capabilities and intuitive interface, Final Cut Pro has come a long way since its inception. Today, let's explore this extraordinary journey of innovation and technological progression."]},{"l":"The Genesis of an Idea","p":["The story begins with Randy Ubillos, a name widely associated with the creation of the first three versions of Adobe Premiere Pro. His team's knack for developing professional video editing programs was then recognized by Macromedia, leading them to embark on a new project, KeyGrip.","KeyGrip was a more professional video editing program, built on Apple's QuickTime, which was intended for Macromedia's portfolio. However, due to licensing issues with Truevision, and Macromedia's shift towards web market solutions, the project hit a roadblock. Macromedia decided to sell its desktop applications, including the embryonic KeyGrip."]},{"l":"Birth of the Final Cut Pro","p":["In a pivotal year of 1998, KeyGrip was renamed Final Cut, and showcased as a 0.9 alpha version at the NAB Show. With no buyers, Apple, recognizing the potential of the software, stepped in and acquired the development team.","Contrary to expectations, Apple continued the development work, despite the lack of a buyer. The team made significant enhancements to the software, such as adding FireWire support, and finally, in 1999, it was released as Final Cut Pro at the NAB show."]},{"l":"Building a Community","p":["To ensure that Final Cut Pro received solid support from the start, Apple adopted an aggressive marketing and training strategy. They joined forces with DVcreators.net to launch a training disc, \"Final Cut Pro PowerStart\", and hosted hundreds of free and paid seminars worldwide. This strategy significantly boosted the software's early market visibility and success.","During this time, Final Cut Pro also capitalized on the decline of Adobe Premiere in the Mac market. A strategic trade-in program in 2003 allowed Adobe Premiere users to switch to Final Cut Express for free or avail of a hefty discount on Final Cut Pro."]},{"l":"Pioneering Broadcast Quality","p":["A defining factor in the success of Final Cut Pro was the robust QuickTime platform, particularly its support for new DV cameras connected via FireWire. The software found its application in the production of the first fully broadcast quality, globally distributed TV show, Women of Wrestling in 2000. Networks, such as Oxygen, also adopted the software to produce shows like SheCommerce.","By 2003, Final Cut Pro was credited for facilitating the production of the controversial film \"PlayCouples, A New Era of Swinging\". The software demonstrated its reliability during the film rendering, and this positive experience led to more endorsements from industry professionals. Such endorsements boosted its acceptance as a professional editing tool and culminated in a Primetime Emmy Engineering Award for its influence on the television industry in 2002."]},{"l":"The Evolution of Final Cut Pro","p":["Final Cut Pro continued to evolve, with the 4th version in 2003, introducing new applications such as Compressor, LiveType, and Soundtrack for advanced editing needs. Over time, the software strengthened its support for various video formats and integrated with additional tools to provide a comprehensive editing solution.","By 2006, Apple stopped selling Final Cut Pro as a standalone product, making it available only as part of the Final Cut Studio bundle. It also introduced the universal binary version, enhancing the software's flexibility and performance.","Subsequent versions, Final Cut Pro 6 and 7, introduced in 2007 and 2009 respectively, brought more functionalities and integrations. Despite its growing capabilities, the software remained a 32-bit application until Final Cut Pro 7."]},{"i":"final-cut-pro-x-a-revolution-in-the-editing-world","l":"Final Cut Pro X: A Revolution in the Editing World","p":["In 2011, Apple launched a major new iteration of its popular video editing software - Final Cut Pro X. This version represented a significant departure from its predecessors, bringing both praise and criticism for its novel approach."]},{"l":"The Launch and Initial Response","p":["The launch of Final Cut Pro X(also known as FCPX or FCP 10) in June 2011, stirred up quite a controversy within the industry. The significant changes implemented by Apple shook many long-time users. Some of the main points of contention were the lack of backward compatibility with projects from previous versions and the initial absence of features like multi-cam editing and the ability to edit tape-based media.","Notably, there was also a transition in the distribution model, as Apple decided to make the software available only via download through the Mac App Store. This change proved challenging for mass enterprise deployment.","To gain an idea of the extent of the initial backlash, you can watch Conan O'Brien's satirical response on his talk show."]},{"l":"Behind the Scenes","p":["Phil Pan on Alex4D's Facebook Group, from the development team reveals that much of the advanced work from the core Shake team during this time was focused on the Helium renderer, a technology that is still central to Apple's Pro Apps today.","Interestingly, Phil indicated that management was more invested in projects such as Motion and Aperture that resonated with Steve Jobs and less in Shake. During this time, Apple acquired French mathematician Christophe Souchard's Senso technology, an advanced image scaling and frame-rate conversion tool using motion vector estimation.","At Apple, Souchard’s skills impressed management so much that his position was titled \"Applied Magic.\" He contributed to the development of next-generation prototypes, introducing methods using partial differential equations. However, due to Apple's policy against releasing compute-intensive software, much of this work never saw the light of day.","The shift in Apple's focus towards mass-market and mobile devices during the final years of Steve Jobs' leadership had a profound impact on the engineering efforts in high-end imaging worldwide."]},{"l":"Rising from the Ashes","p":["Despite the tumultuous start, Apple stood firm, continuously refining and improving FCPX. Through free updates, many of the missing features were reintroduced, and new ones were added.","A significant contribution was the Magnetic Timeline, which allowed for fluid, flexible editing, simplifying the process of exploring story ideas. Additionally, the introduction of Compound Clips further streamlined complex projects.","A major leap forward came with the new 64-bit architecture and GPU utilization. This allowed editors to work with larger frame sizes, higher frame rates, and more effects — all in real-time."]},{"l":"The Current State of Final Cut Pro X","p":["Today, Final Cut Pro X has matured into a powerful and efficient editing platform. With innovative features like the Magnetic Timeline, powerful multicam support, and advanced color grading, it has won over many skeptics.","Further solidifying its place within the industry is the introduction of ProRes RAW in FCPX, making it a go-to tool for many professionals. This format combines the flexibility of RAW video with the incredible performance"]},{"i":"final-cut-pro-for-ipad-expanding-horizons","l":"Final Cut Pro for iPad: Expanding Horizons","p":["In an exciting move, Apple announced in May 2023 the availability of Final Cut Pro for iPad, further expanding the reach and versatility of this beloved editing software. The launch date was 23rd May 23 2023.","This iPad version requires an M-series chip, a powerhouse in Apple's lineup of Apple Silicon. This move allows users to make full use of the advanced capabilities and power efficiency that the M-series chips offer.","In terms of cost, Final Cut Pro for iPad deviates from the usual one-time purchase model. Instead, it will be available solely through a subscription-based model. For just $4.99 per month or $49 per year, users can enjoy the full range of features that Final Cut Pro brings to the table.","The introduction of Final Cut Pro for iPad aligns with the growing trend of mobile editing. This move makes high-quality video editing more accessible than ever, allowing professionals and hobbyists alike to craft stunning videos no matter where they are.","For more details, check out the announcement on Ars Technica or the Apple Newsroom."]},{"l":"Randy Ubillos","p":["This in video Randy Ubillos explains the beginnings of Final Cut Pro."]},{"l":"Off The Tracks","p":["In 2011 Apple ended Final Cut Pro as we knew it and started over with a brand new video editing application: Final Cut Pro X. The disruption from this change is still being felt by the film, television, and video industries to this day. With misinformation running amok, Off The Tracks aims to clear the air once and for all. This documentary features exclusive interviews with the creative professionals who use the software and the developers who created it. Why did Apple make Final Cut Pro X?","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Training","p":["We're big fans of Ripple Training.","Apple has a lot of training resources here.","Want to contribute or add your training? Learn more here!"]},{"i":"an-awesome-guide-website","l":"An Awesome Guide (Website)","p":["Final Cut Pro Help is a collection of training, support, templates, and additional resources to assist you with Final Cut Pro.","Jared Ewing is an Apple Certified Final Cut Studio Master Pro and has been editing video for over 20 years. While growing up, trial and error was a common practice in learning to edit and shoot video. After attending Columbia College Chicago, Jared worked as a software trainer and hardware technician where he mastered the ability to explain complex topics in a straightforward and digestible way. Jared now uses his technical and creative skills to support you here at An Awesome Guide and the Final Cut Pro Help channels."]},{"i":"core-training-for-fcp-104-mac-app","l":"Core Training for FCP 10.4 (Mac App)","p":["39 lessons covering a wide spectrum of workflows","Browse, rate, and add keywords to clips","Chapter markers are included for jumping to specific topics","Color correct video","Core Training for Final Cut Pro 10.4 teaches you how to edit movies using Apple’s flagship professional video editing application.","Core Training for Final Cut Pro 10.4 will help you to:","Easily switch between the App and Final Cut Pro X to practice what you learn","Edit and enhance 360° Videos","Edit clips into a project","Enhance and improve the soundtrack","Focus on telling your story rather than figuring out software","Follow along as you creates a fun, engaging movie from scratch","Have fun learning","Import media from cameras and drives","Learn at your own pace","Learn concepts you can immediately apply to your own videos","Lessons are delivered in a relaxed style by a professional editor","Lessons are short - about 10 minutes each","Make better movies and have fun making them with Core Training for Final Cut Pro 10.4.","Navigate the interface","Reorder, replace, remove, and trim clips in project","Share your movies and much more!","Use Libraries and Events to organize your work","Use music and sound effects to create emotional impact","Watch them continuously or just a few at a time","With Core Training for Final Cut Pro 10.4, you'll learn how to:","Work with photographs, sound effects, and music"]},{"i":"final-cut-pro-efficient-editing-book","l":"Final Cut Pro Efficient Editing (Book)","p":["A comprehensive, best-practice guide from Apple Certified Trainer Iain Anderson. With illustrated step-by-step instructions, you’ll explore Final Cut Pro by following an editing workflow from shoot to delivery."]},{"l":"User Reviews","p":["This book rocks!","This is a incredibly written book. Intuitive, in-depth and a essential for the beginner and the experienced. This book is as detailed as FCP itself being only limited by the imagination, editors, storytellers or creatives. Surely a must have for me and hopefully you as well.","Jason Mark Williams","An amazing guide through FCPX, for both novices and experienced editors.","Forget your old stereo instructions. For a technical manual, this book is a very easy and enjoyable read.","What it is: a wide-ranging look at all things Final Cut Pro X. That means it’s written with sections for editing novices, which go over the absolute basics. And other sections aimed at experienced editors who either want to learn a new NLE (non-linear editor), or who know the basics of Final Cut and want to improve their workflow with efficiencies they haven’t discovered yet. The book even has a section on basic production tips for those who need the help. Personally, I am a highly experienced editor (who does not do production work) so I just skimmed that section, but even skimming it I picked up a few technical production details I wasn’t aware of before.","But the meat and bones focuses on using Final Cut Pro X. And it’s fantastic! Iain Anderson is a gifted teacher, able to explain concepts and fine points to novices and experienced editors alike with easy readability. The sections are so clearly delineated that it’s easy to jump to specific knowledge you are looking for, or you can just work your way through the book from start to finish.","Highly recommended for those wanting to dive into FCPX’s depths, or who want to dip their toes in the water for the first time.","M. Yanovich","Exactly as described. Excellent Book.","This thick book has everything you want to know about editing. Great value and fast delivery.","I would highly recommend this purchase. I’ll be busy reading over Christmas and right into Easter!","Thank You!","Eemies"]},{"i":"final-cut-pro-power-tips-book","l":"Final Cut Pro Power Tips (Book)","p":["Larry Jordan’s highly illustrated guide is packed with over 520 power tips, techniques, shortcuts and hidden gems designed to make you more productive right now."]},{"i":"final-cut-pro-pro-workflow-book","l":"Final Cut Pro: Pro Workflow (Book)","p":["Proven feature-film techniques from Michael Matzdorff, first assistant editor on the Warner Bros. film Focus starring Will Smith, which was edited entirely in Final Cut Pro."]},{"i":"getting-started-for-fcp-104-mac-app","l":"Getting Started for FCP 10.4 (Mac App)","p":["10 lessons that include everything you need to get started","Add music to your video","Add titles, transitions, and effects","Adjust volume and add audio fades","Assemble clips into your project timeline","Begin video editing with no previous experience","Easily switch between the App and Final Cut Pro X to practice what you learn","Fast and focused:","Follow along as you creates a fun, engaging movie from scratch","Get started making movies and have fun making them","Getting Started for Final Cut Pro 10.4 is a free 10-lesson video series that will guide you through the basics of using Final Cut Pro 10.4 using provided media, so you can quickly begin editing and delivering a short video project from start to finish.","Getting Started for Final Cut Pro 10.4 will help you to:","Have fun learning:","Import media and view your metadata","Learn concepts you can apply to your own videos","Lessons are delivered in a relaxed style by a professional editor","Lessons are short - about 4 minutes each","Navigate the interface","Professionally produced media is included","Save a custom workspace","Select, tag, and rate clips","Share your movies and much more!","Share your video with your friends","Skim and select media in the Browser","Use the trim tools to edit your clips","With Getting Started for Final Cut Pro 10.4, you'll learn how to:"]},{"i":"ijustine-teaches-fcp-x-mac-app","l":"iJustine Teaches FCP X (Mac App)","p":["16 lessons covering a wide spectrum of Justine’s editing workflows","Add b-roll and music to shape your story","Add titles, transitions and effects","Because doing is better than just watching, Justine has provided all the media from one of her YouTube videos so you can follow along with her in your own copy of Final Cut Pro X.","Become more efficient in order to save you time when editing","Chapter markers are included for jumping to specific topics","Color correct and improve the look of your clips","Edit with iJustine in Final Cut Pro X","Follow along as you learn her way of editing","Follow along with popular YouTuber iJustine, as she teaches you her complete end-to-end workflow for creating and delivering videos using Apple’s Final Cut Pro X editing software.","Have fun learning:","Improve and enhance your soundtrack","Justine’s tutorial is presented in 16 highly-focused lessons that cover each step in her editing process - importing and organizing media; multicam editing; adding b-roll and music; color correcting; adding titles and effects; exporting for YouTube and more!","Keyboard helper overlays help you remember important shortcuts","Learn at your own pace:","Learn concepts you can immediately apply to your own videos","Learn efficient methods for importing media","Learn Final Cut Pro in a systematic way","Learn Justine’s favorite keyboard shortcuts","Learn Justine’s preferred sharing methods for YouTube","Learn ultra-fast trimming and editing methods","Lessons are delivered by Justine Ezarik - a popular YouTuber with over 5 million subscribers","Lessons are short - about 5 -8 minutes each","Make better movies and have fun making them using iJustine Teaches Final Cut Pro X!","Organize your media with Keyword Collections","Perform a multicam edit using 2 camera sources","This app will help you to:","This tutorial was designed for new user of Final Cut Pro X or anyone who wants to see how a successful content creator uses Final Cut Pro effectively and efficiently.","Use FCP’s built-in intelligence for quickly locating clips","Want to contribute? Learn more here!","Watch them continuously or just a few at a time","Work with Connected Clips & Storylines"]},{"l":"Discuss this page"}],[{"l":"Workflow","p":["This page will be dedicated to professional Final Cut Pro Workflows."]},{"l":"Final Cut Pro Workflow for Feature Films","p":["Feature film editor Knut Hake has created an entire Notion page dedicated to Final Cut Pro Workflows for feature films."]},{"l":"Apple White Papers","p":["Apple ProRes RAW (April 2022)","Apple ProRes (April 2022)","Audio Roles in Final Cut Pro (November 2020)","HDR and Wide Color Gamut in Final Cut Pro (November 2020)","Manage Media with Final Cut Pro Libraries (November 2020)","RED Workflows with Final Cut Pro (November 2020)","Final Cut Pro X for Final Cut Pro 7 Editors (October 2019)","Transition to Compressor 4.1 (December 2013)","Final Cut Pro X for Final Cut Pro 7 Editors (September 2011)"]},{"i":"frameio-white-papers","l":"Frame.io White Papers","p":["Shared & Remote Solutions (2021)"]},{"l":"Shot Data","p":["Vigneswaran Rajkumar has developed a unique workflow with Chris Hocking for filmmakers. The workflow uses CommandPost’s Shot Data Toolbox to create a Shot List & Storyboard Database from Final Cut Pro to Notion."]},{"l":"Titles to Keywords","p":["CommandPost has as insanely powerful Toolbox called Titles to Keywords.","You can learn more here."]},{"l":"Best Practices","p":["Apple's Final Cut Pro is a professional-grade, non-linear video editing software widely used for editing feature films, music videos, documentaries, and other forms of digital media. In this post, we will explore the best practices for using Final Cut Pro for long-form feature film editing. This will ensure your workflow is optimized, your output is professional, and your editing process is efficient."]},{"l":"Organise Your Workflow","p":["Create a Sound Workflow Structure:","Before starting the editing process, it's crucial to establish a well-structured workflow. In the context of long-form feature films, this often involves breaking down your project into scenes or sequences, each with its own dedicated project file within Final Cut Pro. This allows for focused editing and simplifies collaboration, as different editors can work on different scenes simultaneously.","Consistent Naming Conventions:","Consistency is key to smooth editing, especially for large projects like feature films. Use consistent naming conventions for your clips, sequences, and projects. This will make it much easier to locate and identify specific assets as your project grows.","Leverage Metadata:","Final Cut Pro allows users to input and leverage metadata for clips, such as scene number, shot number, take number, and more. You can also add custom metadata. Using metadata effectively can greatly enhance organization and searchability within your project."]},{"l":"Understanding RAM Requirements","p":["One crucial aspect of achieving optimal performance with Final Cut Pro revolves around understanding and addressing the software's RAM requirements. In particular, running FCP on Apple silicon (Apple's own line of processors) requires careful consideration. As all new Macs now use Apple silicon, it's important to get this right.","Apple Silicon and Unified Memory:","Unlike traditional computer architecture, where the CPU and GPU have separate memory (RAM and VRAM), Apple Silicon uses a unified memory architecture. This means that the CPU and GPU share the same pool of memory. As a result, your RAM has to serve the needs of both processing and graphics tasks.","For long-form feature film editing in Final Cut Pro, this has several implications:","Greater RAM demands: Feature films require handling high-resolution footage, multiple video tracks, complex effects, and color grading, among others. These tasks can put significant strain on your RAM.","Multitasking needs: If you are using other demanding apps alongside Final Cut Pro, such as other creative apps, your RAM needs will be even higher.","Importance of choosing the right Mac model: When buying an Apple Silicon Mac, you can't upgrade the RAM later, unlike with some previous Intel-based Mac models. So, it's important to consider your RAM needs upfront.","How Much RAM Do You Need?","As a baseline, Apple recommends a minimum of 8GB RAM for Final Cut Pro:","4GB of RAM (8GB recommended for 4K editing, 3D titles and 360° video editing)","However, for long-form feature film editing, you'll likely need more.","16GB RAM: This should be considered the minimum for professional work, such as editing feature films. It will allow for smooth editing of 4K footage and some flexibility for multitasking.","32GB RAM or higher: If you're working with 6K, 8K, or multiple streams of 4K video, or if you use lots of effects, consider 32GB or even 64GB of RAM. These larger RAM options will also provide greater flexibility for heavy multitasking and future-proof your setup as software demands increase over time.","At LateNite we're primarily using MacBook Pro's (2021 16-inch, Apple M1 Max, 64GB RAM, 3TB SSD), and they're rock solid.","While the unified memory architecture in Apple Silicon offers advantages such as increased efficiency and speed, it also places greater demands on your system's RAM. Therefore, when planning to use Final Cut Pro for long-form feature film editing on an Apple Silicon Mac, consider opting for at least 16GB of RAM, or even 32GB or 64GB for more complex projects and improved future-proofing. Remember, it's better to have a bit more RAM than you need, rather than not having enough when you need it most."]},{"l":"Understanding Drive Requirements","p":["An often underappreciated factor that can significantly impact your video editing workflow is the type of storage you use. When it comes to editing in Final Cut Pro, especially long-form feature film editing, opting for a Solid State Drive (SSD) over a traditional Hard Disk Drive (HDD) can make a significant difference.","Choosing the Right Storage for Final Cut Pro: SSDs Over Spinning Disks:","External SSDs: High-capacity external SSDs have become increasingly affordable. They can be an excellent solution for expanding your storage space without having to replace your internal drive.","Faster Read/Write Speeds: SSDs offer dramatically faster data transfer rates compared to HDDs. This means that video files can be read, copied, and written much quicker, which is critical when dealing with large, high-resolution video files typical in feature film editing.","Greater Reliability: Because they have no moving parts, SSDs are less likely to suffer mechanical failures, making them more reliable than HDDs. This is critical when working on important projects like feature films, where data loss can be disastrous.","HDDs, or hard disk drives, are traditional storage devices that use mechanical, moving parts to read and write data. They are made up of spinning disks, hence the name \"spinning disks.\" HDDs are typically slower and less reliable (due to potential mechanical failure), but they usually offer more storage space for a lower price.","Improved Multitasking: SSDs are better at handling multiple tasks simultaneously, such as playing back multiple video streams, which is common in multicam editing or when working with complex timelines.","In 2023, you should definitely be removing slow spinning disks from your editing workflow entirely. (You might still choose to use them for backup.)","Manage Storage Space: SSDs typically have less space than HDDs. Be diligent about deleting rendered files, proxies, and other temporary files that Final Cut Pro generates during editing to free up space.","On the other hand, SSDs, or solid-state drives, are storage devices that use flash memory (similar to your smartphone or USB thumb drive) to store data. Because there are no moving parts, SSDs are significantly faster and more reliable than HDDs. However, they are also typically more expensive per gigabyte.","Practical Tips for Using SSDs with Final Cut Pro:","Quicker Rendering and Exporting: The faster speeds of SSDs also translate to quicker rendering and exporting times in Final Cut Pro. This is particularly important in a professional setting, where time is often of the essence.","The Advantages of SSDs for Final Cut Pro","Understanding HDDs vs SSDs:","While HDDs may be more cost-effective in terms of raw storage space, the speed, and reliability benefits offered by SSDs make them a superior choice for use with Final Cut Pro, especially for demanding tasks like long-form feature film editing.","While SSDs are clearly advantageous for video editing, it's important to use them strategically to balance performance and cost:","Working Drive: If you can't afford a large SSD, consider at least getting a smaller one to use as a 'working drive'. You can store your current project on the SSD for fast performance, then move finished projects to an HDD for long-term storage."]},{"l":"Storage Locations","p":["To keep library sizes as small as possible (which makes backing them up and sharing them easier), we always recommend keeping your media and cache external to the library.","Storing your media inside the library is an option for solo editors who do not work collaboratively, but external media offers more power and flexibility."]},{"l":"Library Organisation","p":["Each event in Final Cut Pro is its own Core Data database.","You can learn more about the library structure here.","Given this, we recommend splitting up your media into multiple events, rather than putting all your media in a single event powered by a single database.","We recommend using emojis in event names, to differentiate the list of events more clearly.","For example, this is from a 5 x 30min broadcast television special:","You can learn more about this workflow here.","Here's an example of a library for a job where all the user interface designs were build in Final Cut Pro for a game:","Here's an example of a library for a basic corporate edit:","If you're working on a very heavy feature film, your current feature length timeline should be in its own event."]},{"l":"Avoid Snapshots","p":["Snapshots are the devil. You're much better off using something like PostLab.","When you duplicate a project as a snapshot, Final Cut Pro embeds copies of compound or multicam “parent” clips in the duplicate, so any changes to other instances of those clips do not affect the duplicate.","Generally speaking, when you're working with a long-form project, all of your media is generally a Multicam Clip (because you're syncing with external audio) — so each time you create a Snapshot you're essentially creating a duplicate of all the clips metadata.","When you create a Snapshot, Final Cut Pro generates copies of your used clips and any connected clips, including titles, effects, compound clips, and multicam clips. All of these elements contribute to the overall size of the Snapshot.","While Snapshots can be a valuable tool for preserving your project's state at a specific point in time, excessive use can have a significant impact on your library size and performance. This can in turn affect Final Cut Pro's performance.","An overly large Final Cut Pro library can lead to several issues:","Reduced System Performance: A bloated library can slow down Final Cut Pro's performance, making it less responsive and lengthening render and export times.","Limited Storage Space: If your library size becomes excessively large, it can occupy a substantial portion of your available storage space. This can be particularly problematic if you're working with limited storage capacities, such as on a laptop with a small SSD.","Back-up Challenges: Large libraries can also be more challenging to back up, as they require more storage space and more time to copy to your backup drive."]},{"l":"Edit with Proxy Media","p":["Long-form editing, particularly at high resolutions (4K, 8K), can be quite demanding on system resources. To ensure a smooth editing experience, Final Cut Pro offers a 'proxy workflow'. This allows you to create lower-resolution versions (proxies) of your footage for editing. Once the editing is complete, you can easily switch back to the original high-resolution files for final output."]},{"l":"Use the Magnetic Timeline","p":["The Magnetic Timeline is one of the unique features of Final Cut Pro. It offers a trackless approach to editing, allowing clips to automatically slide into place and avoid clip collisions and sync problems. This is particularly useful in feature film editing, where you may be juggling hundreds or even thousands of clips."]},{"l":"Master Your Tools and Shortcuts","p":["Final Cut Pro offers a wide range of tools for tasks such as trimming, re-timing, and applying effects. Mastering these tools, along with the keyboard shortcuts for commonly used functions, can significantly speed up your editing process."]},{"i":"leverage-final-cut-pros-multicam-editing","l":"Leverage Final Cut Pro's Multicam Editing","p":["If your film includes footage from multiple cameras, Final Cut Pro's Multicam editing feature can be a major time-saver. It allows you to sync up to 64 angles of video footage using audio waveforms, timecode, or markers. Once synced, you can cut between angles in real time while watching the multicam viewer."]},{"i":"use-compound-clips-and-roles-for-organisation--efficiency","l":"Use Compound Clips and Roles for Organisation & Efficiency","p":["Compound Clips allow you to bundle separate clips together into a single clip, which can then be edited as one. This is useful for managing complex sequences or visual effects compositions.","Roles in Final Cut Pro allow you to label and organize different types of audio such as dialogue, effects, and music. When exporting, you can output multiple versions of your mix (such as stereo and surround) or a file with separated roles for further mixing or mastering."]},{"l":"Keep Regular Backups","p":["Given the scale and importance of feature film projects, it's essential to keep regular backups of your work. Final Cut Pro's built-in backup tool makes this process easy and automatic. Backups can be accessed from the File > Open Library > From Backup command, but they can also be found in the Finder, in Home > Movies > Final Cut Backups > LIBRARYNAME."]},{"l":"Conclusion","p":["Final Cut Pro is a powerful tool for long-form feature film editing, but like any tool, its effectiveness depends on how it's used. By adopting these best practices, you can ensure that your editing process is efficient, your workflow is smooth, and the end result is a feature film of professional quality. Remember, the key to successful film editing is a combination of technical skill, organization, creativity, and storytelling.","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"SCHOCK","p":["The Violent Footage Tornado (alternate title: “Final Cut is simply years ahead!”)","An Interview with the director and the editor of SCHOCK (Germany, 2023)","This Zoom interview was transcribed with Transcriber, and translated from German via DeepL.","It covers not only the technical workflow of the film regarding the Final Cut eco-system, but also touches on its unusual creative decisions, how filmmaking as a collective joint questions hierarchical structures, and if the director as VFX-artist could be a good idea.","Still frame of the video-interview. from left: Florian, David and Daniel"]},{"l":"Biographies","p":["Daniel Rakete Siegel grew up in Cologne, Germany. Started his directing career after studying at ifs and KHM with the series \"Im Knast\", where he also met Denis Moschitto (co-director and leading actor of SCHOCK). You can follow him on Instagram and Twitter.","David Wieching started film editing via an apprenticeship as media designer and was head editor at btf for 5 years, responsible among others for \"Neo Magazin\", later \"ZDF Magazin Royal\" (famous German late-night show). You can follow him on Twitter.","Daniel and David know each other from joint projects in the early days of their working careers and even have been roommates for 5 years. Their debut feature SCHOCK just screened at the Munich Film Festival 2023."]},{"l":"Synopsis","p":["Bruno has lost his license to practice medicine and is now practicing illegally, no questions asked. His ambition is triggered when a lawyer makes him an offer to treat a leukemia-stricken mafioso. But this not only puts him between the fronts of rivaling groups, but pushes him further away from his old life. A dangerous game between two worlds begins.","The narration is characterized by sparse dialogues and a varied visual language. SCHOCK succeeds in simultaneously affirming the \"gangster film\" and reinterpreting it through bitter realism, avoiding typical traps of the genre, like coolness or quirky comic relief.","Denis Moschitto as Bruno","Fahri Yardim as Giuli","Bruno is trapped"]},{"l":"Introduction","p":["FLORIAN: Nice to meet you, Daniel.","DANIEL: Hi.","FLORIAN: I was lucky to attend the premiere of SCHOCK. Great movie!","DANIEL: Yeah, cool. That was really cool. We always say that we worked on it for eight years. That's true. But of course it wasn't eight years full throttle. It was from the first idea to the final thing. And the last three or four years were really intense. That's such a long time. It was much more intense than we would have thought. And I actually did the grading until the last second.","FLORIAN: Hey David.","DAVID: Hi Flo.","FLORIAN: I'm glad to have you guys on here. FCP Cafe is still very young and I thought it would be nice to try out an interview.","DANIEL: Final Cut is important for both of us. To bring the thing forward is of course super cool. Especially in the professional realm there aren't that many resources online, honestly.","BTS of Schock","from left: Composer Hainbach, Editor David Wieching, Director Denis Moschitto, Director Daniel Siegel"]},{"l":"Collaborative Cinema","p":["Do it yourself and do it together","FLORIAN: Before I get to the technical stuff, I thought we'd talk a bit about SCHOCK. As David told me, the whole thing emerged from a circle of friends. And at the same time it's the cinema debut for many of the team. How did the beginnings of the script come about?","DANIEL: Well, I've known David much longer than Denis (Denis Moschitto, co-director and main cast). We shot the series \"Im Knast\" in 2015/16 and became close friends after the first season. I was ready to make my film debut. Denis wanted to work as a full-blown filmmaker and not \"only\" as an actor. And we figured we want to do this with David, not only as the guy who cuts everything together in the end. So we formed a gang of three - also as proof of concept of how we want to work. It wasn't like, \"Oh, we want to tell this practitioner's story.\" It was more about: how do we actually want to shoot (and produce a film) at all? We took a much more radical approach. The film had an internal working title. We called it: \"Let's fuck shit up!\". So, this freedom was really important to us from the get-go, not for reasons of protectionism, but to not be held back by some kind of structural corset. For example, we didn’t want to work closely with a post-house, rather we wanted to be in control of it ourselves; we wanted to do the exports without calling a technician or anxiously send out VFX lists only to have someone tell us it’s too expensive. We wanted to do it on our terms and with our particular skill-set. And that was at least as important as the story: to figure out our own process, like a personal framework for filmmaking. Is it possible to do it that way? And if so, then we'll cultivate that in the future.","FLORIAN: So you imagined an even more intense collaborative process as filmmaking already is? And you started with the key-positions of editing, acting and directing?","DANIEL: Yes, you could say that. You also have to say that Denis didn't want to play the lead role at first. He wanted to do the part behind the camera. But that ultimately changed during Covid19, I have to be honest.","DAVID: The pandemic changed the script as well.","DANIEL: Yeah, exactly, that opened a door.","DAVID: It inspired parts of the story that weren't there before. Probably the strongest storylines now.","FLORIAN: So I understand it like this: everyone brings their particular skills from a different direction and then you mingle together. And Denis brought his skills from the acting-side?","“ Some even say the Film Editor is like a second director. Denis recently called it shadow-directing. ”","DANIEL: Yes, basically that's right. And if I may say one more thing, which is really close to my heart; a really underestimated part of your (David and Florian’s) work is: Editing isn’t only connecting lines and securing continuity! If you do a somewhat decent job, you finish writing the script in the edit! And I think it's totally important not just to award credits, but, prospectively, understand it as the collective effort it already is. Some even say the Film Editor is like a second director. Denis recently called it shadow-directing. It's sometimes very difficult to distinguish: what is script, what is acting, what is camera, what is staging? And with editing, somehow nobody sees it unless it sucks. Or you win an Oscar, like in this Queen film, because you clearly saw how strong the interventions are there. Unfortunately, there's no real obvious traction for this, neither inside nor outside our line of work, that articulates how much these processes are interdependent and extremely interdisciplinary. And I also think that a lot of the work of directing on set is about opening up spaces for people to do their work well. That's always been a saying that we've had: you don't tell actors how to play it well, but you find people, through casting and all other processes, who work it out with you. And for us, Editing is simply part of that from the very beginning. That's the way it is for me from now on. With every larger project, it's simply an absolute must-have that the editing is there as early as it can be. That you simply talk about everything. So David was even present during prep for blocking the scenes. That all paid off. That's not the most efficient way of working as far as human life is concerned. Nevertheless, for me it’s the nucleus of an ideal shooting situation. To manage this in 30 shooting days, which have come to destroy you. (smiles) To pull that off, that’s killer!","FLORIAN: David, did you actually co-write or just read the script and comment on it?","DAVID: The latter. I’ve never had the script open in Final Draft in this case, but I had read everything since the first treatment draft and we talked about it afterwards. What works well, where do I have ideas for development? It was such a gritty learning process. I would also say that my initial comments were more like, \"yeah, it's all totally awesome, looks awesome, great, exactly.\" The closer the shoot, the more complex the exchange became. And I think that in follow-up projects we’re already noticing how this collaboration has changed and intensified.","FLORIAN: So, you're actually benefiting from this intense work during writing and pre-production. Are you actually getting faster? More precise?","DAVID: Several things. We knew the story and the characters so well that there were few questions left. We developed a lot, of course we'll get to that in a minute when we talk about principal shooting. But I think it's more that through this experience the degree to which I get involved in new projects is now much more intense. By how we've learned to communicate with each other about film, what we like, what works well, what direction we want to go. And also that we can imagine writing a script together. I mean, I would still have to prove that I can do that. But in the process of this film, we came so far that I don't think it would be an absurdity for all of us if that happens."]},{"l":"Workflow","p":["“ My motivation to work like this also came from my buddy Frido, who always used to select in Final Cut with the Playstation controller. He used to sit on the couch, in front of his client monitor, he does a lot of advertising and has a really fat client monitor, so he used to sit on the client couch and did selects with the controller. ”","DANIEL: And Reject, maybe, too.","DANIEL: Yeah, exactly, so since that (FCPX 2012) came out, I've cut everything I could with it. Obviously I haven't edited a feature film, but I've gained a lot of experience in terms of workflow stuff. And I've done a lot with it. And I loved it very quickly. The first version was really bad... but after they changed the library structure, it worked. Also, for David and me, a very important point was that we both had no desire to work on Avid and also had our experiences with Premiere. With Final Cut, you can just dig in and just work sensibly - cut \"from the gut\". And that's what I personally really wanted to do, because I know: You wipe over the footage, make a range, throw everything you find interesting in the timeline - snip, snap, snip - drag scenes to the left, to the right, to the left, to the right and then you're done....","DANIEL: You did, once.","DAVID: And Forward, Backward.","DAVID: And marked In/Out, favorite with the Playstation controller.","DAVID: And Reject still, yeah. And so then I watched and selected. Started editing in parallel as well, but it's a much more fluid and cohesive process.","DAVID: As I said, we wanted to do as much as possible ourselves. But of course, in order to have a certain security, just for insurance and stuff like that, there was still a post-production house involved. And that was WeFadeToGrey. The proxies were created there, then the proxies went to Victor (Rosario, Assistant Editor), and he synced everything. Then I took a walk to Victor's place, because it was very close, and picked up the footage on a hard drive, super oldschool, and if he was already done, also the Final Cut Library, or he sent it to me later.","DAVID: Exactly, yeah.","DAVID: I also created keywords for a few dialogs. But I discarded that relatively quickly, because there's just not that much talking in our film. (Laughter)","DAVID: Nah, actually it always stayed that way. And I didn't split the timeline into reels either, I just started and kind of kept going and when Final Cut slowed down I just reduced the library (deleted older timelines) and then everything rolled again smoothly. That way I didn't have the need to structure it differently. Admittedly, our workflow was really very low-tech in that respect. And, what we haven't said yet is that I hadn't worked on Final Cut once before.","DAVID: No, I had one event per shooting day and then sorted the scenes by keywords.","DAVID: Totally. Although our workflow and also the structure of the library was not ideal. But the pure editing, that went super fast, well off the cuff. Basically, I've never understood it if you only want to work with one technique or one software. Because first of all you’d limit yourself. And I think they all have their advantages and disadvantages. Final Cut is simply years ahead! But still, both Avid and Premiere have their justification. At btf, we worked on Premiere for all those years and it was perfect for one-shots that had a lot of graphics and VFX shots. It would have been unthinkable to work on Avid. And that was kind of the approach to learn the \"new hot shit\" as well. Of course, that started with the viewing and selecting, how much fun that is! Because otherwise, in Premiere or in Avid, with every new project, I'm actually always faced with such a conundrum first, that I have to decide how I want to watch and select now.","DAVID: Unlike with Avid or Premiere, I don't have to decide: do I just watch everything first? Do I do markers or a select sequence or do I start cutting directly and slowly work my way through the footage? When I'm working on Avid or Premiere, I usually do it in such a way that I start cutting right away and then go from the footage further into the structure, into the deep. With the way you can mark favorites in Final Cut, I've gone back to doing selects classically without feeling like it's costing me too much time, energy, and motivation. I feel like selecting with other NLEs, maybe that's fun, too. But when you're done you haven't done anything yet. (Laughter) You don't have that feeling with Final Cut. So: I marked my favorites, and then in the next step, in the View I already hid everything (note: show only Favorites in Browser) and with that I had my select reel in the Browser as a starting point. My motivation to work like this also came from my buddy Frido, who always used to select in Final Cut with the Playstation controller. He used to sit on the couch, in front of his client monitor, he does a lot of advertising and has a really fat client monitor, so he used to sit on the client couch and did selects with the controller.","DAVID: Well, I once assisted a friend (Frido Körner) on a commercial, with the approach \"I want to learn a little Final Cut\". I did rough cuts there, too, and mainly got the assistant stuff down, to understand how Final Cut works in the structure. Then I looked at your (Florian, German editor’s association internal) introduction again, in preparation for the film and then just jumped in at the deep end and started. Because Daniel knows Final Cut so well, I had no worries for the time after the shooting. And during shooting I could always call Frido if I had any questions...","DAVID: Well, once, I did once....","DAVID: Yes, from Stella Fachinger. I was also on the set for the first two days of shooting, and then we talked on the phone, and in the classic way there were Lockit files digital ScriptSuper-notes that Victor transferred into FCP).","Editing a feature film with Final Cut Pro","Event structure of the editing project","FLORIAN: And have there been notes from the ScriptSupervisor?","FLORIAN: And then there was one event per scene? Or did you do it via keywords?","FLORIAN: And with this Favorites-concept you went through the whole film? So it's not like you did extra keywords again? That would be my method: the favorites all get one keyword, then the favorites get suspended and I select favorites of that keyword (fine selection).","FLORIAN: He put the shortcuts on the controller?","FLORIAN: Okay, do you mind telling us briefly what the technical workflow was like, from the set to the editing room. And after that, we would look a little bit at how you actually worked dramaturgically on set. How were the proxies delivered to you and how were they created?","FLORIAN: Okay, let's start there. You get the first shooting day in for SCHOCK, and then: how do you select?","FLORIAN: Okay. And David, did it feel for you like that right away? All this throwing in and freestyle mixing clips, as Daniel describes the whole thing?","FLORIAN: Okay. Then you split it into reels yourself at some point, or scene-Events?","FLORIAN: Play, Pause, In/Out, Favorite, that's all you need.","FLORIAN: So it’s been ProRes proxies?","FLORIAN: Wait a minute, Daniel, but you've done a lot before, smaller projects?","FLORIAN: Wait, this is where it gets interesting.","FLORIAN: What do you mean not once?","FLORIAN: Yeah, exactly. We haven't even mentioned that yet. I'll add that later in the short summary.","FLORIAN: Yes."]},{"l":"Watching Dailies","p":["Shooting day briefing “New School”","FLORIAN: And then let's say now, you're done with the shooting day and then came the special thing, which maybe was still common in the past, that you did something similar to watching dailies with the head-of’s. Now that went a bit differently with you guys. That's of course totally interesting, how this process was at the end of the shooting day between the two of you. Or three of you, together with Denis?","DAVID: Exactly, and sometimes even four, with DoP Paul Pieck together. We already met with the motivation, relatively classical, to watch dailies. Then, when you're sitting in a café where it's a little bit louder, that's not such a good idea anymore. And relatively quickly we moved on to not discussing the previous day's dailies, but rather doing a kind of style critique. On the one hand, how the camera works and how we want to narrate cinematically with the camera, and on the other hand about the character development.","DANIEL: We did make some drastic decisions, it has to be said. For example, we changed the character who gets shot at the end in the showdown. That was originally a different person. And that evolved exactly from those conversations. David was telling Paul all the time, \"Dude, fuck the axis, go in, shoot sloppy, it doesn't matter, let go!\" And that totally triggered a lot. You really can't underestimate that. It was incredibly important. Yesterday, in a moment of madness, I looked at the version we shot - not one stone was left unturned, except for very important details. The film changed incredibly during principal filming. And that was totally cool, I would say. To always discuss with each other and to hold each other up. It was a constant comparison: here we are on the right track, there we have to put in more, there we give less. It's also a film that intentionally leaves out information in a lot of places, in a way that hopefully doesn't bother you. Without those conversations, we never would have been able to do it that way.","DAVID: Frustration management, too. The shoot was tough as nails. There were really few shooting days for what we had planned. And of course the guys were used up quickly. And I gave a lot of motivational speeches. Not because it didn't work. It was often about saying: we're on a good path!","DANIEL: Yes. With David, at the end of the day, it was another view from the outside. While I was already essentially the first viewer via the small monitor on set, David was the next first viewer.","FLORIAN: Yeah, logical. I can also feed back to you that, my impression after the premiere. Because I knew that David was there, I also tried to notice the editing and the mise-en-scene. In other words, I tried to watch actively, what I usually avoid at the first screening. And it's striking: the film is extremely varied! Longer camera movements, pans, montage-sequences, but also more classic blocking and also somewhat fancy camera angles. And still, the thing seems to be made of one piece. It just doesn't fall apart, but it makes the whole thing lively and exciting. And maybe that's also due to this process.","DANIEL: For sure.","DAVID: We didn't just talk about the footage, but also about the next day and what’s planned. And that's where we sometimes developed together, we said \"come on, this scene: one shot!\", or \"come on: two safety, but no shot-reverse-shot!\", just brave: something interlaced, or maybe a bit architectural... And these are then ultimately also the scenes where the shots could last very long (without a cut)."]},{"l":"Redefining the Genre","p":["Without negating the legacy","FLORIAN: The film manages to stay tough and serious. How hard was it for you not to drift into satire or coolness? And that maybe ties into what you guys were just talking about.","DANIEL: So it's a mixture of very easy and very, very, very difficult. When we decided to make a movie at that time, the idea came up, \"what about a gangster movie?\". And then we actually said, \"no, this coolness, somehow we're not up for it at all\". And that was, I think, a narrative demand that had been seething with us for so long that we couldn't get past it. We wanted to play with it. For example, Fahri (Yardim, supporting cast) is wearing a cool leather jacket and is looking grim, but in such a way that it doesn't tip over into a comic reality. That was actually a very simple decision. A film that nevertheless serves the genre, with a showdown, with a certain form of depiction of violence. That it has to be a bit borderline. Not a film that has to please everyone. It was ultimately about going a little bit to the extreme. For example: How little can you talk without thinking it’s a student film where the task was: you're not allowed to talk. So, getting the coolness out of it wasn't that hard. But a film that builds a coherent atmosphere and world within these 114 minutes, without classically learned mechanics, without a love interest, with a main character for whom you can't clearly say why he's actually acting like this. That was very, very difficult. And it took a lot of time.","“ How little can you talk without thinking it’s a student film where the task was: you're not allowed to talk. ”","FLORIAN: Cool gangster movies - there would be a lot of references. So there are pitfalls when you're staging it the opposite way and dealing with actors who are used to it differently. There's a lot for you to do on set, isn't there? Always holding them back a little bit or nudging it in a different direction.","DANIEL: Yeah, ..., we still have a few ADR parts in it that are a thorn in our side. That's why I watched the raw footage of a scene again. And I was totally surprised. It's the scene where Bruno is at Giuli's house for the first time and treats this wound. The scene is just forever long. The footage is forever. And Denis is acting with this medicine bag that was completely filled, like, 300 times in the movie. Incredibly hard to act shit. It's an awkward prop. Incredible number of times he has to open it, close it.","DAVID: Gloves always on, mask too.","DANIEL: The handling, the continuity - that wasn't the difficulty. It was the ability to remain calm. Not to go for efficiency in storytelling. Not to tell it like: now he's sitting with his sister, then he has to say \"sis\" three more times so that people understand.","DAVID: For the scene, we had a relatively steep idea for the character constellation in the days before (during the dailies-discussions). There's not much of that left in the result, but it led to quite a lot of nuances.","DANIEL: There used to be a different ending, it has to be said.","FLORIAN: They're hugging, aren't they?","DAVID: Exactly.","DANIEL: Actually, something else happened after the hug.","DAVID: Right. And also in between, some other stuff happened where the relationship between brother and sister gets a different conflict that we ended up leaving out, but it totally helped the buildup of the scene. Because a conflict arose between the three of them. That was then left out. But it still remained as a basic conflict in the constellation of the characters. And this development was totally exciting for us. A bit like a director's trick, but without being shitty to people, so that they reach their limits. Like throwing in an idea to push everyone to the brink. Coming back to the genre arc, what was really important for the shoot as well: to actually show a lot of things and to be explicit. Not to cut away in moments where it's about violence, or even the consequences of violence, or everything that's medical in the film. We wanted to be in these moments and absolutely show it. For example the treatment of the gunshot wound. How he pulls the thing off and you see the \"pizza\" (inflammation around the wound) and the hole. We have been so lucky with our make-up artists, Daniel Schröder and Annette Schirmer. It had to look good. He takes off the patch and you think \"oh shit, this fucking hole in the back\". Starting from there to the thumb at the end (of the film), we wanted to show everything. Not to cut away in those moments and only tell it with sound because it's easier. Sound also works, because it hurts associatively. But we wanted to show it all, as statements of intent to the genre.","DANIEL: Immanence, that was a total buzzword for us when we were shooting. We tried to hold it up everywhere we could. For the genre. To somehow get pressure into it. Meaning: real shots, real locations, no car rides in LED hell. And above all, to let actors play and not only shoot for the edit."]},{"i":"creative-struggles--frustration-management","l":"Creative Struggles & Frustration Management","p":["_“ Final Cut invites you to go on forever: fade here, something there, jab jab, while it is running (!), ... ”","DANIEL: Exactly, the letting go, even of frustrations from the set. We had that with two or three other scenes that took a little bit in the edit to get done. At some point, one of us said, \"Nah, come on, let's do it. We'll take out the montage-sequence and we'll go through it properly, again.\" I mean, you know for yourself when you're sitting in the edit and suddenly the knot unravels. And you know you’ll just need three frames here, a different setting there, and maybe a little bit of a different mindset ... We also had a small, very early test screening with Rainer Nigrelli and Flo Böttger. Watching it with different eyes has also totally changed a lot for us. And for David it was just stress, because there are two guys sitting behind him and say, \"Get in early.\" - \"No, out earlier.\" - \"Boom, there's music.\" - \"Nah, without music.\". That was really super untechnical. That's why, I think, we haven’t had real conflict, except for general frustration management. But there was a long phase, also during editing, where we had no idea whether the film would work. I think we were really afraid that we would cut it and then it would just completely suck.","DANIEL: I got two, three things. David?","DANIEL: I think 30 days in total. I remembered 18 weeks of editing.","DANIEL: That was surprising. That was really surprising.","DANIEL: Totally. It's totally crucial. I've also suffered a lot in Premiere and Avid. More in Premiere, even less in Avid. I really think: getting access to the footage, so you just have a visual reference of what you're working on, that's easy in Final Cut - I can’t understand why you wouldn't want that in editing. I really don’t fathom.","DANIEL: Vape, vape, vape ... I picked up the mouse every once in a while. I really like seeing the timeline to get a feel for what's happening. And what I find so nice about Final Cut is that you can just let it run, trim another clip while it's running, turn the music down a bit, you can just march through. Even Denis felt the vibe that you can just march and “massage” the footage as you like. We actually took moments now and then to get away from the computer and watch it on a TV-Set. Because Final Cut invites you to go on forever: fade here, something there, jab jab, while it is running (!), and so constantly the attention is gone. But I don't think I'm a better editor than David, on the contrary. I'm just a bit more into technical shit, whereas David is more into \"I'll edit the scene nice and tidy\". If there's a new Voice Isolation thing in there, I immediately want to know how it works. Where the limits of it are and where they aren't. David just doesn't give a shit. So I was doing more of an editing assist, if you will.","DANIEL: We thought that was going to happen, but it didn't.","DANIEL: Yes, it could be that I did that once. It wasn’t the usual \"there's a director sitting around\". We always sat behind David, jerking around like dudes, which had to be annoying sometimes, right?","DAVID: 18 weeks of editing, but that was including principal shooting. We were together the whole time. And just fought our way through. It was an incredibly intense process. But at the same time, you have to say, we had no single night shift. Not on any day.","DAVID: 18 weeks was all right. We always said to ourselves, if it takes longer: screw it. We had an extremely low budget and we made super little money on the film. But because it was all of our big screen debut, we didn't give a shit.","DAVID: Exactly, and there again, this whole process is totally awesome that we wrestled for this scene so much and it changed for the better.","DAVID: Exactly, we thought it was going to happen. Sometimes I like that, too, as a certain protection mechanism. If I don't happen to know the director or producer that well yet, then maybe I’d like to have time alone to try something out and not have someone sitting behind me. With Daniel and Denis, there were no such insecurities or fears, for sure. But of course, when you're three guys... How many weeks did you shoot, Daniel?","DAVID: For example, we cut out the death of the character Naimee, the prostitute, very early. And built it so that that strand basically ends loosely for Bruno. After she’s got the sepsis and then an allergic reaction, it just got better again and he doesn't hear anything of her anymore. Particularly Denis and I favored that for a very long time. In the end, it's always a bit theoretical. You kind of have an idea to tell it differently and think: that's okay, it didn’t have as much impact as we thought it might anyways. Naturally, that's the easy way to get rid of it. And that's where Daniel really pissed us off, in a positive sense. He \"beat us up\" to not leave it like that and to give up. And I also think my ethos developed a lot during that time. As an editor, you probably don't want to admit that, but of course sometimes the path of least resistance is a grateful one.","DAVID: Nah, I don't think so. I think during that time there was an update with Dupe Detection. That was great. Because that was totally missing. Then all of a sudden it was there. And it was like \"Thank you!\".","DAVID: Right, and I'm not very interested in that.","DAVID: That was very surprising. Because Daniel and I are geared to spend the whole night. Maybe we were there until 10 p.m., but then the last two hours were mostly talking.","DAVID: Vaping noises, behind me all day.","DAVID: We had a rough cut of, I think, 2:45 hours. The first days were a bit wild … aftermath of the wrapping party. And then we really just sat together every day. So I don't remember any situation where we discussed something, now they're going to leave, we'll talk more tomorrow and I’ll execute.","DAVID: Yes, and I think with me it derives from \"learned stress\" from other projects. I had to unlearn that, in a way. We're editing together again at the moment. Daniel can say \"yes, let's have another look\", as often as he likes - I'm rarely annoyed. Except maybe when I'm tired, the dog is barking and I'm hungry and I think to myself, \"now leave me alone!\" The three of us have had a lot of things to deal with, I guess. Even Denis, who has never sat in the edit so intensely. I mean, with three people, if there's a disagreement, then it's two against one. There's no other way. And of course you’ll get annoyed sometimes. But in the end we all mastered these challenges, even if it took a little while. Denis is also happy now that Naimee's death is still in there. And I also like the way we approached the scene in the edit and with elliptical storytelling. How Bruno sits there and is desperate about what happened. That's how it became a strong scene. Not an action sequence of \"will he manage to save her?\". He arrives, she's already dead, and through our editing his desperation becomes very clear and relatable.","FLORIAN: And the Voice Isolation came with the same update, I think.","FLORIAN: Bitter reality.","FLORIAN: Daniel, can I just ask, with your Final Cut background, were there moments where you said, “let me do it myself”? Did you also sometimes, maybe for the better, push the keyboard over to each other?","FLORIAN: I think it’s great.","FLORIAN: My experience is almost the other way around, that I always say, \"I know you don't like it, but I'll remind you in two days, that maybe we should cut it out.\" Here the director is fighting obtrusively for something? But I guess it makes sense in your collective construct?","FLORIAN: The filmstrip view and how visually Final Cut presents everything, even to a bystander, is helpful to your work.","FLORIAN: We agree on that. Were there certain challenges in this fine-cutting phase, where you struggled and fought or where it just took longer and you were able to solve them?","FLORIAN: Yeah, cool. Let's go into your fine editing phase then. David, you had Denis and Daniel sitting there all the time - or did you send them out of the studio sometimes?","FLORIAN: Yeah, that’s in every process, usually after three weeks of fine editing or so. I would now slowly shift towards post and then wrap the whole thing. Maybe a little question about Final Cut: Did you miss something essential in the whole process? Or where you guys said, \"Gee, that feature would actually be good.\"","FLORIAN: You haven’t been so limited in time. For a TV movie you have to be done after 10 weeks.","Picture Lock Timeline with Playouts and Burnins above"]},{"l":"Post Production","p":["Delivering with Final Cut Pro","DANIEL: Yeah, it's awesome. I think during the edit itself - no complaints. Since I also did VFX, I took over the project technically after editing. And there are a few things during the handovers. For example, I would like to be able to lock the cut. That you can kind of say, Primary Storyline: no more timing change. That would be nice, for example. And sometimes it's a bit annoying that metadata in the Event and Timeline don't stay in sync. For example, if you create a Role for a VFX-source, that is not reflected in the Event, e. g. as a keyword-range. The information is only in the timeline. We had VFX shots marked with their own Roles to get them out as sources for VFX. I just did the math again. 71 fullblown VFX shots, but in reality it was more like 90. And that's not counting stabilizations. Because I did it all myself it was quite a lot of stuff. Then, of course, like I think a lot of people, we also had problems with stabilization, one should just be able to rebuild them 1-1 on other workstations, I think. And timecode... Or is that solved now? There is this timecode window. Is it possible to display the different tracks? I still don't think so.","FLORIAN: Well, you can display it, but you can't burn it in.","DANIEL: Exactly. That's also really annoying, for example, that you can't do proper burn-ins. That would be really nice for a professional workflow, when you send it out to sound-post. So I brought the stuff into Resolve and made burn-ins there, then brought it back into Final Cut. It always takes time.","FLORIAN: Well, there are workarounds inside FCP for these problems, but it could be better. And what was the point with stabilizing? So it wasn't the same on one computer as it was on the other?","DANIEL: No, that worked. But at some point it was like, you do a stabilization and everything is good. If you open it up on another computer, the analyzing never stops (note.: is constantly re-rendering). And the still frame is different from the moving picture. Feels a little wonky, I'd say.","FLORIAN: It would actually need some kind of render lock for one clip. That's what Alex4D once suggested.","“ I also think that you can't design sound as beautifully in almost any other tool as you can in Final Cut. It's an incredibly cool sound tool! ”","DANIEL: Exactly. At least some kind of rebuild function for the internal effects, which are otherwise great. And of course a render lock would be great as well. I think those are the few things I can think of right now. I also think audio lanes are great. I'm very happy about that. I also think that you can't design sound as beautifully in almost any other tool as you can in Final Cut. It's an incredibly cool sound tool! And that's super important to all of us. We worked on sound a lot and very precisely. So it's a shame - but this is a ProTools issue - when you put so much work into details that then all goes down the drain in transfers. I think that's really sad. If I still had time to learn programming somehow, I would do everything I could to get the sound in the studio to be exactly the same as it is in the edit. And also this \"In Avid, a lot of people only edit with mix-tracks\"-paradigm, that you don't really care about the sound in the edit, that bothers me.","FLORIAN: So, when you think about the deliveries now, David, you just handed it over to Daniel? And although you onlined it at WeFadeToGrey you still did the VFX and even the grading?","DANIEL: Exactly.","FLORIAN: But in Resolve probably.","Audio Lanes View of final edit"]},{"i":"pre-gradinghome-office","l":"pre-grading@home-office","p":["DANIEL: Exactly. The film got proper grading after all. And of course, that's only possible because I did a relatively intensive pre-grading. I built myself a nice little grading box in the office with black styros. With my Mac Studio and a 4K-DCI Eizo monitor, which I calibrated to 709. Then in Resolve I worked in full resolution in DaVinci wide gamut/intermediate, which is the RCM-2 color space, a color managed workflow. So I prepared grading on my 709 monitor and cut in all the VFX, then I could just switch to P3D65 to prepare it for the grading cinema. So that process worked extremely well if you ask me.","FLORIAN: Kind of like ACES, right?","DANIEL: So when ACES came out, I was always working in ACES. And when RCM-2 was released from Blackmagic, and the new HDR grading tools ... that is, I think, from the usability so fine, so nice to work with, I find ACES in comparison a bit ... sharper, feels more brutal somehow. I think (as a director) it makes much more sense to colorize your own film than to edit it. You can quickly change things radically. And develop a taste and build and try things out. Long story short, it's been a bit low-tech of course that I did it here in my office but then we moved to WeFadeToGrey and had the total opposite there in the grading cinema. That's kind of where the magic is for me. And what we haven't even said yet: We shot with the Sony Venice on full frame Cooke lenses, all 3:2 open gate in RAW (X-OC-XT), so 2:1 anamorphic 6K. Which is a quasi-12K image (de-stretched) or 12096x4032. But the finish was in 4K. WeFadeToGrey helped us a lot, especially Swen Linde supported us very well. We can only be very grateful. I don't think you could have done much more deluxe in Cologne. They were major supporters of us.","DAVID: Exactly, even though we wanted to do a lot ourselves, they really helped us out a lot.","FLORIAN: And this high resolution, of course it helps with VFX, as well as in editing, when you want to zoom a little further into the frame. I assume that you also used that more often.","DAVID: Yes.","DANIEL: Yes"]},{"i":"director--vfx-artist","l":"Director = VFX-artist?","p":["FLORIAN: Okay. I think now we should, but I'm still interested in the VFX workflow, briefly. So did you do those in Resolve or did you send them back to Final Cut?","DANIEL: Well, I did the onlining in Resolve. You have to know, during film school, I already had gathered experience in title design, grading and VFX-stuff for family and friends. My secret, technical post-production life, so to say. (smiles) So I did the VFX partly in After Effects, partly in Fusion. We don't have any 3D composites in it. But I always sent everything back into Final Cut easily via fcpxml, so that we could make clean playouts and sound transfers \"offline\" with the 2K proxies. We also re-delivered if anything was needed, or looked for another take. The Final Cut project was still in use during that process.","FLORIAN: Okay, okay, okay.","DAVID: Maybe a mini remark about the VFX. We just really had an endless number of retouches.","FLORIAN: Removals, retouches, split screens.","DAVID: Split screens and also really complex split screens, sometimes with two or three other retouching layers.","FLORIAN: Especially because of the handheld camera every single plate has to be tracked before comping, probably a bit tricky.","DAVID: Exactly, and therefore mostly zoomed in a bit. So it's not an uncomplex thing that Daniel did there. Which was just cool, briefly back to the editing process, because we were just never in the situation of having to think about whether it can be paid. We just did what we wanted to do in the end. Denis and I rather tried to hold Daniel back and say, hey, can't we not kill this VFX-shot, because you know what else you have to do.","FLORIAN: Daniel, how long did it take?","DANIEL: Yeah, a long time. I think three, four weeks at least. It was really crazy. But it was also cool. It was glamorous. Almost all the tracking stuff I did with Mocha because I did a lot of rotoscoping stuff with it as well and I just really like using Mocha. Also the performance with these 6K, de-stretched, was relatively good. I mean, I don't even want to pretend it had good performance when it comes to that kind of footage. It was overwhelming. A violent footage tornado that ran through my equipment. I worked with Mocha Pro. It was super awesome, I have to say. But then I had some problems with Mocha. There's a relatively new surface tracker in the Pro version that you can use to track organic stuff. It always crashed. And then I wrote back and forth with Boris FX support several times a day for a week, I think. It was a very intensive exchange. And that was really cool, how they took care of it. I thought that was totally great.","FLORIAN: Because it was so fresh on the M1, probably."]},{"l":"Working with Independent Developers","p":["“ Technically, I found that going through this process with Final Cut was incredibly convenient. Even the re-delivery process was very relaxed. If you document it thoughtfully! And if there's one tool that invites you to do that, it's Final Cut. ”","DANIEL: I have one last thing. And I'll make this real quick. What was so cool for us was when our producers and everybody said we're going to go back into the mix and we're going to re-cut. That everyone worked together like that. With EDLX, I pushed out EDLs for reconforming and created changelists with \"Change List X\". With reference audio because we cut with stems and only brought in original audio where there were changes. I provided the Soundpost with a small flood of deliveries and that worked super well. So don't be afraid to change things afterwards. It's not like we changed every other frame now, it was much more selective. We added one more scene, took one out, changed a few timings and tried to relax so that we didn't have to go into the whole process again. In the process, two or three VFX shots were created and I did the conforming in Resolve, I bounced the transfers back to our audio post, which worked really well. And I have to say, a little bit of “new school filmmaking” is that you don't let technical shit like that stop you. That just because you have a Picture-Lock planned, you're not going to change anything anymore. It's important, of course, that you do it reasonably and don't, like a maniac, say, “I'm not going to stop editing the film”. Technically, I found that going through this process with Final Cut was incredibly convenient. Even the re-delivery process was very relaxed. If you document it thoughtfully! And if there's one tool that invites you to do that, it's Final Cut. You get lists beaten out of there, technical solutions via Resolve and other tools... you can do things that are otherwise very difficult.","DANIEL: I think they were a bit keen on it, but they also saw, I think, that I do comparatively complex tracking stuff that you have to get to grips with somehow. But I was totally accepted by them. They sent me an alpha version early on so that I could work here. And that was just totally awesome, I thought. It was like a little nerd convention, over email and a little bit of chat, just solving problems with each other. So, you know, the nice thing was that I didn't really have a deadline. It wasn't like, fuck, now I've lost three days with some technical problem and I have to hustle through it so that I can keep to my timing. And I had a short contact with the X2Pro people, Marquis Broadcast. They also helped a lot to identify the problem in the first place. For example, we were talking about 32-bit audio. I think they've got a handle on all that in the meantime. (edit: yes. Fixed in 4.5.16) And that was just great that someone could make a reasonable statement. That you don't somehow only look for the error in yourself and don't understand why there is only noise in ProTools.","DANIEL: I worked with that as well. Yeah, that was great. So I did all the VFX lists with Producers Best Friend. Absolutely awesome. Even with thumbnails! If I had done that by hand, I would have been on it for a week.","DANIEL: Probably. It's not quite set yet, but that's what we're assuming right now.","DAVID: That's the plan, January, February.","DAVID: We'll keep talking at you for another two hours. (Laughter)","Event Structure, all Sync Clips","Florian Duffe made his debut as Film Editor with Luna (FCPX, 2015) and has since cut several Movies and Series for German national Television, most of them in Final Cut Pro. Most recently he was credited Additional Editor of the dystopian Sci-Fi-Thriller “Paradise” (Avid MC) on Netflix.","FLORIAN: Fingers crossed.","FLORIAN: That's good to hear. So I'll say, David, Daniel, thank you so much for talking to us. I wish you big success for SCHOCK. That's going to start in January 2024?","FLORIAN: Yeah, insane. And they're all very accessible. If you're lucky, you can solve your problem within two days with two emails. I’d say, shall we officially call it a day?","FLORIAN: Yes, that was my experience as well. Especially in the Final Cut world with all the third-party developers. Intelligent Assistant or CommandPost for example.","Follow Florian here:","Mastodon","re-edit with cut-in Audio-Stems for convenient reconform","Twitter"]},{"l":"Discuss this page"}],[{"l":"The Future of Everything","p":["Animated in Animate, Finalised in Final Cut","As animation commenced, I began to piece the edit together as shots were approved and delivered. This was all tracked using a Google Sheet with the shots available to the whole team via Box.","As the edit started to come together, I’d share my thoughts with Mike and the producer who would look at WIP edits and communicate notes back to the animators based on shots that may need some minor tweaks to help the edit. It might be a frame here and there or (very occasionally) a whole rethink, but due to time restraints, we’d often have to compromise, focusing on what served the story and what was achievable in the time and with the resources we had at our disposal.","Being from a live action background, this was a different workflow for me. During pre-production, Mike would board each episode and build an animatic in Storyboard Pro which had a voice scratch track that Mike would produce himself, along with basic sound design elements and some music tracks for reference.","Below you’ll see my basic library setup for the project. The Library title was unfortunately auto generated by PostLab so the naming convention is a bit funky. A while ago, Chris Hocking who is the head of post at LateNite introduced using emojis in our Event & Folder naming structures. Although a simple thing, I’ve found this to be useful in identifying folders and events quickly and efficiently, particularly when you’re under the pump. Sometimes it’s the little things that help to keep a workflow moving.","Due to the pace in which we were working, and with multiple animators across each episode, there would occasionally be minor slip ups with the colour of a prop or a missing design element as we cut from a wide to a tight. In this instance, if we could we’d do a quick fix we would, rather than having to go back to the animator who might’ve already moved on to the next episode.","For post, we set up the project in PostLab so we could utilise the collaboration tools it offered. We encountered a few issues, with some work lost when uploading changes, however the terrible internet in Melbourne could have equally been to blame. As mentioned, the animatics for the series were produced in Storyboard Pro, from which we could export Final Cut Pro XML (.xml) files, along with any rendered visuals separated by panels. Using SendToX, I then produced a timeline with cut points along with Mike’s temp audio work. This was essentially my starting point.","Hi! I'm Kevin, the editor of The Future of Everything, a 2D animated anthology comedy series created by writer/director Mike Greaney.","If we got stuck, we’d occasionally have to pull some tricks, like repeating frames or holding frames to get the frame or two required to fix our issues.","Once I got into the edit, I would use Mike’s animatic for timing, to spot any unwanted changes that may have occurred during the migration, and to spot missing shots that may have gone unallocated or missed by the team. On episode one, I would sometimes use the .xml from the animatics to do scene detection in DaVinci Resolve, however I found that the exports from Storyboard Pro were reliable, so I abandoned this step pretty early on.","Once we had what we’ll call our first assembly edit in place with our completed shots, I’d look at the rhythm of each shot in the context of the edit, and start building a more robust sound design from the animatic.","Once we locked our edit - we’d then turn over our temp sound and music to the designer and composer respectively. On this job we were fortunate that Dead on Sound handled both. We’d export an AAF with X2Pro, with settings to discard any inactive or disabled audio. We’d also embed the audio with eight-second handles. When the mixes and stems came back as .wav files, it was just a matter of adding them as connected clips, assigning a new role, and disabling all other audio roles.","One area where live action differs from animation, is that the animatic is where you get your timing and ‘edit’ right before you start animating. Our focus during this period was sharing notes between the team on Frame.io and finessing the animatic so that by the time we entered the edit, there were really only minor tweaks required to reach our final locked off master.","That first episode was about setting up how our workflow was going to function, so there was a bit or trial and error involved, but once we found something that worked for our post team, as well as Mike and the producers, we stuck to it for the remainder of the series.","This Post-it note on top is my first prop design debut, helping to fix a continuity problem.","To finish with an interesting aside - we found that the episodes with less dialogue and narration tended to be the ones that required more tweaks, as the pacing tended to be more dictated by the animation rather than sound. Not hugely relevant to our workflow, but interesting none the less!","With the first twelve shots that I received, I exported ProRes 4444 from Adobe Animate and then imported them into keyword collections, that were organised by date, in the Animations Event I’d created. This became my process, eventually welcoming all 51 shots into my timeline for episode one. As mentioned, I used the .xml to help me lineup shots for timing, and would export weekly WIP edits for Mike and the producers to review."]},{"l":"Watch Series"},{"l":"Discuss this page"}],[{"i":"der-schatten-the-shadow","l":"Der Schatten (The Shadow)","p":["Case Study for a Mystery Thriller Series"]},{"l":"The Story","p":["A young journalist, Norah, moves from Berlin to Vienna to start a new job. She is starting to research in the local art-scene and with homeless people.","A homeless woman makes a prophecy to her: In 6 weeks Norah would kill a stranger with good reasons.","This prophecy is tangling up with her own past - lots of flashbacks into her teenage years - and gradually drives her into despair and self-doubt.","This television series is an adaptation of the novel by Melanie Raabe.","Still frames of Der Schatten. A woman in front of a painting of a wounded woman, a winding staircase, two people in a mortuary, a steep escalator","You can watch the show here(eventually geofenced, if your not in Germany)."]},{"l":"Trailer"},{"l":"Stats","p":["1 Assistant Editor","3 Film Editors","6 x 45min Television Series 53 shooting days, 174 shifts of editing, 29 days / episode 89 hours of footage, 3946 Video Clips, 3491 Audio Clips 6 main FCP-Libraries, one per episode","Budget: Estimated budget of 650k-800k / episode (day-time-budget TV in Germany)","CommandPost- Using Titles to Keywords for line-by-lines","Final Cut Pro 10.6.4","iMac (i7)","MacBook Pro (i7)","MacMini (M1)","MacStudio (M1 Max)","Notion- To build a digital bulletin board, one scene = one card","OWC Thunderblade, SanDisk Extreme Pro, LaCie rugged SSD Pro, et al.","Post Crew:","PostLab- Collaborating in 6 libraries on 4 workstations in 3 cities","Producers Best Friend- Creating lists (ADR, VFX, Music, DI, Motion Design)","Production Company: Keshet Tresor Fiction","Public Broadcaster: ZDFneo (\"young\" Side-Channel of ZDF)","Storage:","Sync-N-Link- Creating Sync Clips with Metadata","Tools Used:","Workstations:","X2Pro- Send Audio to Soundpost (Sleepwalker)"]},{"l":"Locations","p":["Principal shooting took place in and around Prague, Czechia, with additional exterior shots on location in Vienna, Austria.","Main post-production was handled in Prague. Rough-cut was done in 3 different German Cities at once. For the fine-cut we gathered in Berlin.","Map Europe, highlighting data-flow between Berlin, Prague, Vienna, Munich and Ulm"]},{"i":"how-hard-was-it-to-get-fcp-approved","l":"How hard was it to get FCP approved?","p":["Not that hard. In this case the director, Nina Vukovic, knew and liked FCP - so the Production quickly agreed to my editing concept. Additionally I can point to half a dozen major projects I have done so far on Final Cut Pro.","But of course, since FCP is not as common as Avid MC in the industry, it always takes a little bit of convincing of every department to approve such a workflow. And its essential to have well-trained Assistant Editors. Fortunately, for AEs, its easy to switch to FCP. If you already are an experienced Assistant, the basics can be learned in two days, with a little remote support over the following week. Whats also true: if you dont have a post-production facility that knows FCP to their heart, its my responsibility as Head of Editing to be informed of the entire workflow. I have to guarantee that it will work and I have to fix it when it doesn't. Thats a burden Ill gladly carry, because the maintenance of the FCP ecosystem is way more easy to handle than for example Media Composer. And I have a solid international community to back me."]},{"l":"Editors","p":["2021 was a very busy year in the industry (in Germany) and it was not easy to find Editors at all. After a few calls Martin Wunschick, an FCP-native like me, gave me his ok that he could join us later in the game. He suggested Silke Botsch, a very experienced Editor, who had occasionally edited on FCP before, features and animation projects. Since I was just finishing another TV-feature when principal shooting began in July 2021, we agreed that Silke would start with selecting and assemblies while I would part-time-organise post-pro workflows and AEs. After 4 weeks I joined as an Editor and Martin joined 2 weeks before the director would hit our editing rooms. Until then every Editor selected and assembled what whatever came from set, regardless which episode. With Martins arriving we finally settled into our episodes, two per Editor. From there we had around 6 weeks with director Nina Vukovic left to lock the picture.","Editors, from left: Florian, Silke, Martin","Assistant Editor Raja Weiler @ Work","This is my mobile editing room in Berlin. I opted for a 1 display + 1 A/V-Output setup for max flexibility.","Mobile editing setup (Berlin)","My studio setup in Munich has 2 in front + 1 A/V-Output (different movie, though).","Studio editing setup (Munich)"]},{"l":"Workflow","p":["Assistant Editor (Ulm, Awesome Pixels):","At this stage, it's a proven and constantly improved workflow.","Creates parts in FCP via CommandPost's Titles to Keywords","Creates Sync Clips with Sync-N-Link (+ Audio Metadata import)","DIT (Prague, Magic Lab)","Download Masterfiles on local drive","Downloads Masterfiles on local drive","Editors (Munich, Berlin):","Further adjustments in FCP (markers, notes from Script Supervisor)","I counted. Der Schatten is my 8th major project in FCP(X).","Moves every Masterclips into each episode-library.","Populates scene-Events with Sync Clips and moves them into dedicated episode.","Pre-Grade and Transcode to ProRes Proxy on set. (I would prefer ProRes LT, but we opted for Proxy to have less data to download)","Relink new files with FCP once, the rest is taken care of by PostLab","Start editing","Updates Notion database with necessary information for the shooting day","Upload onto cloud server (Prague), QC in-house (Prague)"]},{"l":"PostLab","p":["The PostLab workflow is pretty straight forward and feels very safe. It stores every upload in the cloud. Fast internet is mandatory with big projects for this setup to work.","1 episode = 1 production (PostLab) = 1 Library (FCP)","Below you can see that 3 editors worked on the same episode within 3 days. Everybody has to leave a short note, what they were working on. At any time it's possible to go back to these instances and revisit or copy over the former edit. If a library is opened by another Editor, it's locked for everyone else. But you can open a copy of the last safe at any time.","Main user interface of PostLab","All additional Media, like Music, VFX-mixdowns, SoundFX, etc., is synced via postlab.drive. Setting up PostLab.drive to sync the additional files on 4 workstations correctly takes a little bit of effort, comparable to other backup-structures. The goal here is to not duplicate files or overwright folders. (Thanks Sam Plue for the help!)","This was the Finder folder structure on every workstation:","Screenshot of Finder structure, dedicated folders for Masterclips, FCP original Media Folder. Every Editor has its own folder for additional footage","With the flexibility of PostLab - and fast SSD-RAIDs - we could easily jump between episodes. When our Assistant Raja had anything to manage, e. g. importing new scenes, it was easy as closing the project, make coffee, come back to work. Sure, with increasing complexity of the project we had longer upload-times, but we are talking maybe 4-5 minutes twice a day. Compared to how long other NLEs take to even open big projects - nothing to worry here.","Also worth noting is that the user support of the PostLab team is very fast and helpful."]},{"l":"Organisation inside FCP","p":["Every Masterclip goes into every episode. Sync Clips go into their episode.","Conceptional diagram of the distribution of Masterclips and Sync Clips into every episode"]},{"i":"why-all-the-masterclips-in-every-episode","l":"Why all the Masterclips in every Episode?","p":["Our Mystery-Thriller script featured many flashbacks. We opted for this approach to keep the flexibility and move selected scenes to other episodes without the risk of accidentally recreating Masterclips, a feature/bug Apple yet has to tackle. With this system we were able to freely gather moments from other episodes, for example for a dream-sequence. And boy did we make use of it! Now we only needed to open a copy of another episode (PostLab) and could steal a cut from our fellow editors."]},{"l":"Masterclips","p":["The Masterclips are purposefully put into 1 Event per 5 shooting days to not overload an Event. They just have keywords for their shooting day.","Screenshot of an Event, shooting day 26 to 30 with 508 clips in it","When Final Cut loads an Event (or Compound or Timeline) and the clips inside reference to other Events, FCP hast to load these events, too. If these are very big (> 1000 Clips) FCP seems to struggle with reloading. Its one of those things that are no big deal when they occur occasionally (just wait a few seconds), but can annoy when they appear every other time you switch the Timeline. So, we break up the Masterclip-Events into chunks of 500-1000 Clips. Meaning 11 Events for 53 shooting days in this case."]},{"l":"Event Structure","p":["Because there are no folders for Events we have to be creative with the naming. It may look frightening, but in practice it's a minor issue. As Editors we are used to long lists and many files. That said: all FCP-Professionals wish for Event-Folders and Apple is aware of that. We will get them eventually.","All the Events of episode 5, roughly 100.","Alright, we do it the old way then, with a prefix before the name that sorts the Events accordingly. The Events are named with scene numbers, sometimes we use Emojis or additional text to describe the state of the scene.","Sorting system with * and Spaces in the beginning of Event-names","A scene Event contains the Sync Clips + the Compound Clips with the Assembly or Rough-Cut versions + additional files such as wild tracks. Tight and tidy and helps with orientation.","One single scene with around 30 clips (takes) in it.","The Scene-Compounds then are assembled into a timeline. In this way we can easily rearrange the order of scenes, test out music or different versions of scenes. Below you can see that some scenes havent been shot yet. So we place title-cards as placeholders. Close to the fine-cut we take blocks of scenes and put them into bigger Compound Clips. In this way we can see the wider flow of the episode and refine the edit inside the Compounds.","Rather late in the process, maybe 3 days before Picture Lock, we break apart the Compounds to have the whole episode in front of us for last refinements. This is both, an organising decision and an efficiency measure, because FCP is still getting slower with complex timelines longer than 30 minutes. If youre working in reels the App stays snappy.","Episode 2 in the timeline, with several Compound Clips of different lengths"]},{"l":"Notion Database","p":["To complement the flood of footage and keep 4 Editors in the loop about the shooting schedule we use notion.so. (credit to Knut Hake for finding this!) Its like a bulletin board in the cloud with flexible views.","Below you see the arrangement for every shooting day. We can look ahead what is coming the next days, what is shot, but not yet delivered to us and what is ready to edit.","View of a notion database, every shooting day is a collumn, every collumn shows cards for the scheduled scenes","Each scene is represented by a card. It provides a summary of the state of shooting and syncing. Additionally there is a screenshot, special comments from director and Assistant Editor. We can write notes of our own about the state of editing in case someone else will pick up the scene later on, and even report back to the set, for example to the Script Supervisor.","Notion card in detail, different properties like Location, notes, shooting day and episode are filled with information","You can sort and filter the database. In this case (below), the list shows shots that are not yet finished or have missing data.","A smaller list, which only shows scenes that comply with the selected filter requests","Or you can simply have a nice gallery of your episode to get an impression of the visual concept. Great for directors and DoPs!","A gallery view of episode 1. storyboard style."]},{"i":"line-by-lines-parts","l":"Line-by-Lines (Parts)","p":["Line-by-Lines, or parts, as I call it, is the process of splitting every take of one scene into little chunks, usually for one line of dialogue or one particular action. These little chunks are reordered so that you can watch every similar part of every take in succession. In this way you can quickly compare every angle and find the best shot or dialogue.","Shortly before our production started Chris Hocking had the Titles to Keywords feature for CommandPost ready (commissioned by Knut Hake) and it rendered my old workflow obsolet. Before, we would tag every Sync Clip in the Browser with keywords. Even with dedicated shortcuts and scripting it was not an easy task. If you made a mistake and had to go back one step you could loose orientation. Now, we can complete the entire process within a timeline and with titles and we can also adjust each step throughout the process.","As you can see below its as easy as:","Create a title with dedicated name (e.g. part 01)","Copy it over to the next take, adjust length, and so on","then you send it to Titles to Keywords and are presented with an Event, where all takes are thoroughly tagged with a keyword for every part , which you can then rename with more information, if needed. (screenshot further down below)","This process even works with Multicams and stacked Sync Clips (multiple cameras layered in sync with TC).","Timeline with all takes in a row. above it titles with different lenghts are placed on the clips","finished Event, one keyword is selected. one short line in each take is highlighted yellow to demonstrate the ability to find a moment in the take very fast","For the sake of efficiency my approach is to not have every line, but 2-3 lines (around 20-25 seconds) in one keyword. This is small enough to have good orientation and, at the same time, not too many keywords, which also can be distracting. Depending on the length of the scene, we would have 5-9 keywords for our \"parts\"-system. The new process takes around than 20 minutes per scene, compared to the old approach, which could take up to 1 hour. The result is something like what's shown in the picture above: When you click on the keyword, which has parts of dialogue or a description of the moment in the name, you can quickly find the line you're looking for (circled in yellow). With the skimmer, it's a matter of milliseconds to play them in succession, select one, and exchange it with the take in the timeline. I also use this for the initial selection process in longer scenes. This is an excellent way to compare different takes on a macro-level."]},{"l":"Deliveries","p":["After Picture Lock we sent:","FCPXML to DaVinci Resolve for Color Grading and VFX","AAF via X2Pro to Sound Design and Music (if the timelines are well maintained beforehand sound-designers will be happy)","Lists for ADR, DI, VFX, Motion Design and Music via Producers Best Friend"]},{"l":"Conclusion","p":["Even though we edited in three different places simultaneously and moved to Berlin in the middle of the production everything went fairly smooth.","CommandPost s Title to Keywords sped up the AE-workflow significantly.","Final Cut and PostLab enabled us to concentrate on the creative work and even jump between episodes to build a compelling story.","The visuality of the Browser, the Magnetic Timeline and the overall efficiency of Final Cut Pro provide us with the necessary tools to be creative, even in time-demanding scenarios."]},{"l":"About the Author","p":["After his studies of Fine Arts in Munich, Germany, Florian Duffe started as an Assistant Editor in feature films (Hell, FCP 7, 2010, Finsterworld, Avid MC, 2013).","He made his debut as main Editor with Luna (FCPX, 2015) and has since cut several Movies (Tatort) and Series for national Television, most of them in Final Cut Pro.","In 2020 he was credited Associate Editor at the team of dystopian Sci-Fi-Thriller The Colony (FCPX, Director: Tim Fehlbaum, Editor: Andreas Menn).","Follow Florian here:","Twitter","Mastodon"]},{"l":"Poster"},{"l":"Discuss this page"}],[{"i":"indias-space-odyssey","l":"India’s Space Odyssey","p":["India’s Space Odyssey, the science documentary produced by Miditech Studios for Warner Bros. Discovery/Discovery+ India released in October, 2021.","It is special in one of many ways, i.e. it was edited completely on the Final Cut Pro X while pandemic regulations also being around.","It is Directed by Pria Somiah and Edited by Palok Singh."]},{"l":"Notes from the Editor","p":["Hi, my name is Palok Singh. I am a Producer-Director and Editor based in New Delhi, India. I collaborate on independent projects while also running my own creative production company called The Qurious Studio. I am the Editor on the Discovery+ India science documentary India’s Space Odyssey. It bagged the award for Best Current Affairs programme for a single Asian market at the Content Asia Awards.","I have used FCP X since its inception in 2011, while we were still working on FCP 7 and I have been a FCPX user ever since FCP 7. The transition from FCP 7 to FCPX was fairly smooth for me, however it was not the same story out there. For most editors the change was overwhelming, particularly the Producers and Production companies became extremely hesitant towards editing on FCPX. And with FCP7 dissolving, premiere occupied most of its space.","So, when I was asked to edit Space Odyssey, like a disclaimer, I had to tell them I edit on FCPX and if that is cool. Now, FCPX has to not just struggle with lack of information on it but also misinformation in the popular circle. I addressed few of their concerns holding my ground with confidence and then I believe they did not had much of a choice given the pandemic as well, so they gave it a nod.","India’s Space Odyssey is the story of the Indian Space Program that goes six decades back to as early as 1962 and before. That meant there was going to be a plethora of data to be managed, while we edit. A lot of which has to be archival footage, in all kinds of files and formats and the last thing to be shoot data. Like I remember the first batch of data, about 20 GB, sourced from NASA archives was eventually never used. All that clubbed with the data, Pria who produced and directed, and her team, shooting remotely in different parts of the world, would also come to my edit studio as they happen.","So I could anticipate much in advance that the core need on this project would be to have a robust data management within FCPX and outside as well. I took some time before the data could start coming in to do some homework on organising and structuring data, in order to follow a process that helps me when the project grows up to be complex. For this specific process demand, I could bring everything to work from keyword collections, smart collections to notes and metadata. Further I spoke to a few seniors but mostly wanted to peek into any pro editors process. Looking around YouTube, I feel most fcpx tuts/videos are often created in context to YouTube content only and there’s limited resources on YouTube for Pro editors. But I did find some help, one of the helpful videos I easily recall was from This Guy Edits, that helped look around the process of an editor to a Academy Nominated Doc. In conclusion, I think by end of project nothing else proved more crucial than doing that homework on organising and building a process to manage data because I never missed or struggled to find a file till the project finished.","Outside FCPX, I had used a drive cloning application to make an automated clone of the drive I was working on every few hours, since I was editing from my home studio and there were no RAID Storages.","Further, I had introduced Frame.io to the production team, since review and feedback were in question as I insisted on editing at my home studio and did not wanted to edit at a rental studio given my COVID-19 precautions/reservations. At the end Frame.io just didn’t turn out to be a saviour but it was so well received that it was further used by the production team on their other projects as well.","In terms of editing, I was editing on a 2017 27-inch iMac with 24GB RAM and an external monitor and I’ve never had a considerable hiccup with regards to FCPX’s performance and stability. It is one of those reasons that I had never left FCPX for, it is safe, stable and unbothering. Good organising, optimising legacy formats, keeping ample space in drives, managing volumes of render files, using Video-Audio roles from scratch, easy multicam syncing-editing and good old cutting were some key highlights to my workflow. Additionally, the documentary, perhaps due to budget constraints, was also colour corrected and graded in FCPX mostly using default tools. All in all, I could simply focus much more on the creative aspect of edit and lesser on the technical requirements once correctly setup. The FCPX workflow allowed me to have the headspace to discuss the edit creatively with my director and address creative concerns.","That said, there were still some genuine questions during the project, some answered and some had to be taken outside FCPX for help. Those addressed were like when exporting master the Discovery specification required a .mxf (OP1a) and I had to dig internet to learn and satisfy my director, that FCPX’s MXF export is by default wrapped in OP1a format. Others that did not find an answer were like the LKFS parameter, for which I could not find a solution within FCPX and I had to take my export file to Premiere Pro which had a LKFS meter.","Beyond performance and stability, I also use FCPX because I find the interface design much less intimidating and chaotic as compared to its contemporaries. The only complain is that there’s much less confidence in the industry on FCPX. And since I do not edit on any other NLE, I am turned down on many many more gigs compared to the numbers I am accepted on. Apple too seem to not take it with much seriousness as they do to their other products. Lately I have been looking towards Resolve to switch, if that ever happens."]},{"l":"Trailer"},{"l":"Promos"},{"l":"Poster"},{"l":"Screenshots"},{"l":"Discuss this page"}],[{"i":"blood--gold","l":"Blood & Gold","p":["Blood & Gold premiered on Netflix on Friday May 26th 2023. Fully edited in Final Cut Pro.","Directed by Peter Thorwarth and edited by Knut Hake.","I (Sam Pluemacher) was the Assistant & VFX Editor on this production. If there are any questions please feel free to reach out to me.","To get started, here's a short excerpt from an interview with director Peter Thorwarth about Blood & Gold published on Blickpunkt:Film:","Once upon a time... a German spaghetti western","The origin of \"Blood & Gold\" goes back to 2006. As you saw with \"Blood Red Sky\", I can be persistent when it comes to material I really believe in.","This time we shot a lot outside, on real locations. That generally creates more of a mood and a better atmosphere. For our little town of Sonnenberg, we went to Vysluní in the former Sudetenland. The story we're telling could have actually happened there. There is a big neo-Romanesque church there in the center [...] this had been desecrated by the communist government, which gave us the opportunity to really shoot our showdown there. To shoot an homage to the Italo-Western with a shootout in a church has always been my dream. Accordingly, the church was the main reason why we chose Vysluní as the location.","Netflix was the gamechanger for me. They made two dream projects possible for me - both of which I had been trying in vain to get off the ground for more than ten years before that.","Excerpt from Blickpunkt:Film - Thomas Schultze 25.05.2023 12:48"]},{"l":"Quick Facts","p":["Netflix feature film (2022) - 95 minutes","47 shooting days near Prague, Czech Republic","185 VFX shots realised by Accenture Song VFX & Pixomondo","Edited on a MacBook Pro M1 Max and Final Cut Pro 10.6.5 in Berlin & Munich"]},{"l":"Workflow","p":["This workflow has been proven stable & reliable on 5 different Netflix productions & many more to date.","On previous shows we would mostly work remote from each other. With Blood & Gold we moved into a new studio in Berlin which made us reconsider a few key aspects of our workflow.","We've been using PostLab for a couple of years already and love the stress-free collaboration and its backup abilities. Working on large libraries requires a lot of up- and downloading which were constrained by our internet bandwidth. I setup a PostLab Local server on a M1 Mac mini which greatly reduced upload times (down to around 60 secs from previously 10-15 mins). The instructions to setup a Local server can be found in the Hedge documentation and we were able to set it up in 2 days without any prior knowledge of GitLab. For additional security we implemented Tailscale (Wireguard VPN) to restrict access to the server, which also allows us to access libraries remotely.","We considered a Jellyfish NAS for our media management, but couldn't justify the cost for our 2-person studio. PostLab Drive is a great tool for working remotely, but it still requires all media to be uploaded to their server. We were looking for a similar tool that would keep our media in sync which lead me to Syncthing. It allows you to sync directly over your local ethernet network, but also syncs peer-to-peer over WAN access. For additional security these connections are also running through Tailscale. This setup allows us to be very mobile and we solely work off OWC Envoy Pro SX 4TB drives which are super-fast and rugged. In addition we keep daily backups on two OWC ThunderBay Flex 8 drives.","Before shooting started we talked with our post-production supervisor, sound recordist, script supervisor, camera department and DIT on set to align our workflows.","We discuss editing codecs and naming of media files. We usually prefer ProRes 422 LT files because of the excellent quality to size ratio that is suitable for cinema screenings.","It is especially important to make sure they shoot with permanently synced timecode. For the sound files it is important to carry over the iXML information so that FCP can read the correct channel names.","With all of the above set we continue to setup our edit bays and our workflow down this project.","An in-depth version of our workflow can be found here: Final Cut Pro Workflow for feature films"]},{"l":"System Setup","p":["Post Haste allows you to save folder structures as a template. Huge timesaver as we name all drives or RAIDs identically and work with the exact same folder hierarchy.","Syncthing enables us to synchronize all media in the background between our different edit bays. It works over the internet as well as on a local network without the need to upload lots of data.","Tailscale is a super easy VPN solution for building secure networks and allows you to remotely access from any network or physical location.","Notion is our database to keep track of the production status of each scene, VFX shots and other useful information."]},{"l":"Edit Preparation","p":["We use a number of different tools to prepare our shooting days:","PostLab offers stress-free collaboration for Final Cut Pro. Upload your FCP Library and everybody on your team can access it over the cloud. It also serves as a time-machine as you can revert to any uploaded iteration of your library. Starting with this production we moved to PostLab Local.","Lockit Network is a powerful script supervising tool that collects metadata on set which can be ingested into Final Cut Pro without the need to manually copy-paste important script notes.","Sync-N-Link is a tool to batch synchronize dual-system audio and video and to batch-create multicams. You can also use a target project to create synced clips in a different aspect ratio.","CommandPost is the Swiss Army Knife for Post Production Professionals. It offers several toolboxes that offer huge time savings. One of which is to create line-by-line keywords:\" The Titles to Keywords toolbox is a huge timesaver when editing complex scenes. Couldn’t live without it anymore. And directors love that every delivery of any line from any take is just one click away!\" - Knut Hake - Additional information can be found in this article fcp.co - Script-focused feature film Workflow"]},{"l":"Editing","p":["Here are a few tips for the editing part when working on a Netflix production:","Use roles extensively as they help organize the timeline and makes turnovers easy and comprehensible.","Netflix requires all non-english content to be captioned for all internal screenings. We used MacWhipser with on-device transcription and then translate it using DeepL to generate captions.","Blood & Gold included lots of fighting and shooting sequences. We used Audio Design Desk to do temp SFX layouts which made this process fun and super quick. Their Final Cut Pro integration made things a really smooth process.","We used chapter markers to tag VFX shots as they are easily searchable in the timeline Index.","Create a Compound clip for every VFX shot and place all iterations inside. They are very useful to update VFX shots in multiple timelines and have access to previous versions."]},{"l":"Turnovers","p":["X2Pro will generate a ProTools AAF which includes roles as named tracks making the session very organized for the sound editor.","EDL-X creates industry standard EDLs for either picture or sound turnovers and can be easily filtered by roles for specific turnovers.","Producer's Best Friend generates rich & detailed spreadsheets that we include with any turnover as they show all relevant metadata such as effects, keywords, markers. We also use those reports to ingest information into our Notion VFX database.","Change List X lets you compare two timelines and generate a detailed report that shows you all edit changes."]},{"l":"Trailer"},{"l":"Additional Links","p":["Final Cut Pro Workflow for feature films by Knut Hake","fcp.co - Script-focused feature film Workflow by Iain Anderson"]},{"l":"Discuss this page"}],[{"l":"Turn of the Tide","p":["Turn of the Tide premiered on Netflix on Friday 26th May 2023. Fully edited in Final Cut Pro.","Created by Augusto de Fraga. Edited by Marcos Castiel (Ep's 1, 2, 5 & 7) and Pedro Ribeiro (Ep's 3, 4 & 6)."]},{"l":"Notes from the Editor","p":["\"Turn of the Tide\" was a turning point in my editing career, allowing me to use my favourite NLE for fiction.","Although I have been using Final Cut Pro (FCP) since 2019, it was only reserved for commercials.","As a group, we even wrote an open letter to Apple addressing the issues we sometimes face trying to convince producers to let us edit on FCP.","Color was done in Resolve, sound in ProTools.","Fast forward to 2022, and I was invited by the creator and showrunner of \"Turn of the Tide\", Augusto de Fraga, to edit the series. I said straight away I was going to edit this on FCP. Augusto told me, \"I don't really care what you use to edit. That's your thing. Run with it\".","FCP is so fast that we spent more time focusing on the creative aspect of editing and not on the technical ones.","For sound turnovers, she used X2Pro to create AAFs, which our sound team praised. Our AAFs were very well organized. We can thank FCP roles feature for that.","However, when I was asked to edit Netflix's \"Gloria\", I opted for Premiere instead, due to the post-production house's lack of experience with FCP.","I also called the color grading and sound studios to talk about validating my XMLs and AAFs. That workflow test went seamlessly.","I wish this case study could be longer, but the editorial process was so smooth that I really don't have much to say.","Marcos Castiel (Ep's 1, 2, 5 & 7)","Originally, the plan was for me to edit all seven episodes, but time constraints meant I had to share my workload with another editor, Pedro Ribeiro.","Our 1st assistant, Maria Ruiz, smoothly handled VFX turnovers and color using FCP's native XML.","Pedro is an avid user and veteran editor, so I had to break the news to him that, for this one, he was using FCP. Pedro spent two weeks learning the software, and that was it.","The editorial collaboration was made possible by PostLab, a third-party software tool since FCP does not have native collaboration built-in.","The English title of the upcoming series, \"Turn of the Tide\", holds a deeper meaning for me.","The production company asked for a workflow test, which I confidently agreed to.","The production company initially resisted the idea of using FCP, and I vented my frustration to fellow editors about the lack of trust in FCP for major projects.","The same issue arose when I edited the feature film \"Remains of the Wind,\" which was also done in Premiere.","To prepare, I read Knut and Sam's Notion Workflow Guide for FCP on feature and episodic TV, which I highly recommend to anyone using FCP for fiction.","We used shared storage and edited seamlessly without technical hiccups."]},{"l":"Trailer"},{"l":"Poster"},{"l":"Screenshots"},{"l":"Discuss this page"}],[{"l":"External Case Studies","p":["Here's a collection of case studies found outside FCP Cafe."]},{"l":"Apple","p":["Here's some links to case studies on the Apple site:","Jenn Jager","Our Last Night","Blood Red Sky","Elsa Rhae and Barron Link","The Banker"]},{"l":"Blogs","p":["Frame.io also has an incredible blog jam-packed with quality content.","Here's some case studies we've found online:","ONA: Better Care for a Lifetime (16th January 2018)"]},{"i":"fcpco","l":"fcp.co","p":["Here's some links to case studies on fcp.co:","Timbrée or How to Use Stamps to Build a Story (09 May 2023)","In Love with Final Cut Pro (10 February 2023)","Native BRAW Editing in Final Cut Pro with Chris Hocking (08 February 2023)","evrExpanse 3 Adds Features for EXIF Metadata XML Import into Final Cut Pro (08 February 2023)","BRAW Toolbox and Gyroflow Toolbox (29 January 2023)","Bright Future; Slow Progress (27 December 2022)","Using an OLED TV as a Monitor — Crazy or Genius? (29 November 2022)","The Very Best One-Key Shortcuts for Final Cut Pro (17 November 2022)","A New Script-focused Feature Film Workflow for Final Cut Pro (11 November 2022)","Solve Review and Approval Problems for Music on Video with Freque (04 November 2022)","You can find more over at fcp.co.","Something missing? Contribute! Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Transcriber","p":["A Developers Story"]},{"l":"Initial disclaimer","p":["Hi, before I start I would like to say a couple of things about what you will read: this article will talk about a product that I have for sale.","Let me be very clear: I am not writing this article to advertise myself, that maybe, eventually, will come later... Every time I make a product I end up writing somewhere, on some website, an article that tells the genesis of that product, its story.","And I am here precisely to tell you a story, a five-month long story about the launch of my latest app, Transcriber, that I will try to condense into \"a few\" paragraphs...","So I am not here to sell you the product whose story I am about to tell you, but to chat, and if downstream of this reading you would like to interact with me, ask me some questions, ask me for insights, even give me some criticism, more or less constructive, I am here, absolutely happy to debate and learn something new."]},{"i":"first-of-all-who-am-i","l":"First of all: who am I?","p":["Again, before we begin two words about yours truly: my name is Alex, I live and work in Milan, Italy, I studied computer engineering and then, \"fortunes\" in life led me to become first an editor and then a video producer.","Now my official label, as far as my occupation is concerned, is \"director of TV commercials and promotional videos,\" however, I deal with all aspects of production and especially post-production in a small company called Exmachina, also in Milan.","Throughout my career as a video maker, however, I have always made small tools, tiny programs, utilities that we use internally in the company as an aid to the management of the video and audio production processes (I probably forgot to tell you that I have also been doing podcasts for 12 years, my last show, if you know some Italian, is Techno Pillz in which I talk about my work as a programmer and video maker).","After the great crisis of 2008, which was overwhelmingly felt in Italy in 2011, I had to kind of find a way to reinvent myself, so I started in 2017 to refine some of the applications I had made and then sell them directly on the Ulti.Media website.","Initially it was not even a second job, as much as, let's say, a kind of hobby, but for a few years now in this second job has become a very important part of both my personal and professional life, with a market that is starting to get interesting.","Today I spend half of my time making videos and the other half of my time making programs that help those like me who make videos, audio, podcasts, and so on..."]},{"l":"It all started with a tweet","p":["Towards the end of 2022, and in January 2023, I started working on a very ambitious application, a voice synthesis application, with the goal of becoming an interesting replacement for the \"cheaper\" versions of video tutorials: the ability to have not simply a text-to-voice generator, but a real project management system as if you were directing a virtual speaker.","I don't know if this program will be able to see the light of day before the end of 2023, I'm still working on it and it's quite a long process, at any rate, also earlier this year, I had started to do some experiments with Whisper, for transcribing audio, something that is quite handy for me to find keywords in podcasts (and which I've already done using Siri in another application of mine, FCP Video Tag).","In early February someone asked on Twitter if and how it is possible to automate the transcription of video so that I can then use that transcription to generate subtitles in Final Cut Pro.","And someone added, \"it would be interesting to see what the guys from Ulti.Media would be able to do in this regard.”","When someone mentions you on Twitter, first you are honored, then amazed, then you respond with such sincerity, \"I was actually just working on this thing...\"","And that's where it all came from, the idea of making an application that can use a much more efficient, effective and qualitatively better engine than Siri's to pull out subtitles in SRT format.","In my head, during my car rides between home and office, I began to form the idea of an application that would not only pull out subtitles but also allow text editing, something derived from the same text editing engine as the other application I am developing, the one that does the exact opposite, from text to voice.","I was just about to start putting down some code and data structures, when I do a little research: surely I'm not the first one who has something like this in mind, let's see what others have done.","So I come across Macwhisper, an excellent application by Jordi Bruin, download it, try it out, and decide not to pursue developing my own application: this competitor has already done it all and done it very well, too!","(Note that in an article in which I talk about one of my products, I quote one of my competitors and give him high compliments: at the very least in marketing school they would have flunked me with a grade worse than unclassifiable...)."]},{"i":"but-i-can-do-something-different","l":"\"But I can do something different.\"","p":["Sometimes I think Christopher Nolan's movie Inception is based on the ideas that become mental woodworms in the space between my ears... I kept thinking about how I would develop the application because while Macwhisper was perfect in some ways, it was more designed for transcribing audio, and not for managing subtitle streams with easy, visual, in-sync editing...","Part of me simply said to myself, \"you can do it too, and do it different enough so that your application can still have its own dignity.\"","This is probably referred to in psychology as \"megalomania.\" I think it's more unconsciousness, however, often and often the most fun things I've done in my life I've done just with a considerable amount of unconsciousness.","You know what? F* ck you, I do that too!","Well, yes, I decide to develop my application anyway and focus it on a different, probably fuller workflow than Macwhisper's, and I start testing with Whisper's Large model, made available in open source by the people who created it: OpenAI, yes, the same people as ChatGPT."]},{"i":"why-chatgpt","l":"Why ChatGPT?","p":["Let's make a nice technical digression, since we're here among friends, pretend we're in a pub, and we've made it to the third round of beer, only instead of talking about soccer or some other sport, we're nerdy enough to get excited about something technological...","So why is Whisper so important? And what ties it to ChatGPT? I will try to explain things in a simple and certainly inaccurate way, so those who understand a little about artificial intelligence, plug their ears...","Whisper is a transformer, and while Siri, Alexia, and Google try to understand the word or phrase that was spoken, Whisper goes a little bit wide and also tries to understand the context of each phoneme, and through a very broad knowledge base as well as statistical calculations, tries to make each word follow the word that makes the most sense, consistent with what is being spoken.","Whisper's wide model takes up a good 3GB, a little more in memory when it runs, but it is still to be considered a \"basic\" model, probably ChatGPT four is at least 100 times bigger - which is why it will be difficult to run something like this on our computers.","Rose-water technical details aside, this is one explanation of why Whisper is so much more accurate and also succeeds where other transcription systems stall: in the unfortunate event that it does not understand a word or part of a word, it \"reconstructs\" it from what comes before and what comes after.","Another major struggle was to \"teach\" (although perhaps the correct term would be to specify) Whisper to also generate punctuation marks, such as periods, commas, question marks, and escalation marks.","Pay attention to this: when you dictate to Siri you have to specify the punctuation mark you want to add.","Small color note: this very article is accomplished by dictating to Siri while I am moving between home and office by car.","One of the great peculiarities of Whisper is that it can also figure out what punctuation marks are, but this is not something it does automatically, you have to specify some input parameters so that it understands that the context has to include them as well."]},{"l":"Before the prototype","p":["In short, teased by the Twitter discussion and the endorsement, I started playing around with this system, trying to figure out what I could get out of it and what the limitations of the technology were.","I think I managed to make a very first prototype, with, of course, a horrible user interface within 7-10 days. And, of course, I started testing it with all the work I was doing in March 2023, projects of various kinds: from pharmaceutical video presentations to a video game trailer to some tutorials.","Here I encountered the first limitations of Whisper, which performs exceptionally well when the audio is quite clear, content with a speaker or interviews, while it goes deeply into crisis in case music or sound effects are present.","Initially, I told myself that this would not be a big problem, just specify in the requirements that the application was best suited for spoken content, nevertheless I felt the need to refine it, so I rolled up my sleeves and wondered if there was a possibility of parsing the audio in such a way as to find the points where there was speech and then eliminate those where there was only music or sound effects.","I succeeded by taking advantage of some libraries provided by Apple for analyzing sounds. Subsequently, one thing I have been working on in parallel with both this app and the one that does text-to-speech is the highlighting of sentences in sync with the video (or, rather, with the audio).","I always thought that when doing a speech review, physically, the people in charge have in front of them a sheet, printed in Courier font, with all the features of the script. For this very reason I wanted the words and sentences to be written in this same style, not so much for skeuomorphism, but because it is still the most effective and efficient method of reading the text while listening to the related audio.","I worked not a little in such a way as to continuously highlight the line of text that is \"spoken\" at a particular moment in time.","When there is information that varies over time, the concept of a timeline is one of the strongest: it transforms the horizontal axis into that of time, so the playhead moves from left to right as the playback continues.","Showing in a two-dimensional screen information that evolves over time is never a trivial matter, not least because it involves making user interfaces and real-time interaction methods, which in some ways have more to do with video games than with video writing programs...","This is why I am particularly proud of this part of the code; not only is the segment highlighted with the sentence being spoken, but it is also easy to interact with it by correcting any transcription errors.","It sounds like a breeze, but believe me, it's not!"]},{"l":"3GB of passion","p":["Another big problem stemmed from the fact that the model I wanted to use, again in open source and with respect to legality, takes up a good 3GB, as I mentioned earlier.","Downloading a 3GB application, as annoying as it may seem, is not that problematic, for the installation to begin with.","But then I thought about all the times there would be a need for an upgrade, and downloading 3 GB of stuff, most of it always the same, would be particularly troublesome, especially in areas of the world where connection speeds are not comparable to those of the big European or North American metropolises.","So I set to work on making a system that would allow the downloading of the template only the first time, and among other things in \"shared\" mode, so that in case I wanted to develop another application based on the same technology, it could safely use the model already downloaded (spoiler: thing I have actually already done with FCP Video Tag)."]},{"l":"The field test","p":["\"Of course yes!\", I replied, and the fact that I had a real use case, with tight deadlines and a not inconsiderable qualitative demand, led me to work heavily on the application, so as to improve as much as possible the interface and also the possibility of exporting the subtitles in different formats, including text with total transcription, unsynchronized, and later also RTF with time code indication in a different style.","And it was during the interviews that it was asked if it was possible to have even a rough transcript of what was being said for medical and scientific review.","And since Transcriber's purpose is to extract the subtitles from the audio, I thought, more or less simply, to add precisely the subtitle overlay to the video, so the eyes are all and always in the same area of the screen.","At the end of April I had to go to Florence to attend a medical conference and do several interviews with many doctors, in a total of 12 languages, including English, French, Spanish, Italian, German, Polish, and Brazilian Portuguese.","I patted myself on the back because this stuff, in the end, among the transcription applications, I guess I only had it...","I told myself that there had to be a way to \"split\" a subtitle while still keeping the text in sync with the video.","In practice, the traditional transcription process, which involved typing the texts while continuing to pause the video, translates into an automatic process of \"raw\" transcription, which must necessarily be followed by a (much faster) checking phase.","In the end I decided that, as an option enabled by default, the system tries to figure out whether the user has pressed the ENTER button to wrap, and when it is pressed, the split sentence automatically generates two subtitles that are fairly synchronized to the video, where \"fairly\" means \"more or less imperceptibly.\"","Just by making these doctor interview videos, I told myself that by keeping the video played at the top of the interface separate with the transcribed text at the bottom, the user's attention would be focused on only one of the two.","Just looking at the overlay subtitles, I realized that although I had struggled not a little to try to get Whisper to digest the punctuation marks, in some cases the sentences were so long that they would result in huge subtitles that would take up too much of the screen.","Let me be clear: I have always considered Transcriber as a semi-automatic tool, this means that the transcription should still be reviewed a human being.","The boundary conditions are simple: artificial intelligences are very fast, very efficient and also very effective, but they don't understand what they are doing; it's just data to them. It's up to us to maintain control.","This also sounds like a no-brainer, but it's not, not least because the system, during playback, continuously updates itself (about 30 times per second) to try to figure out where it is, among all the phrases being spoken which one is active at that instant of time, and then highlights it at the bottom and shows the text content superimposed on the video.","This has led to better fluidity in handling the interface and the ability to interact very easily and very quickly on the text stream.","This is the philosophy of all the apps I make: automate as much as possible, while still leaving control, verification and, not least, responsibility to a flesh-and-blood guy.","You see, my applications are born and grow in a fairly almost \"autistic\" way, but then it is really with user testing (and also when I make tutorials) that I discover the limitations and areas where they can be improved."]},{"l":"Text Editor","p":["One of the features of Transcriber that I like best is the text editor, the subtitle editor.","From a purely technical and data structure point of view, each of the scripts corresponds to a different record in the document's \"internal database,\" called the Session.","When working with text, however, for example with Microsoft Word or Pages, what appears in the sheet is a single text that can be edited easily.","I did a lot of work so that text editing would be as similar as possible to that of a traditional word processor, while still allowing for the ability to manage how the texts remain \"attached\" (i.e., synchronized) to the video.","The whole component of transcription, and managing the synchronized texts, was one of the most complex but at the same time also quite elegant things I have ever done.","I tried to make things as simple as possible and as intuitive as possible for the user, while going out of my way to mask any complexities.","If a title is too long, it is highlighted with a red dot which means that, given its length, it would take up too much space in the frame.","The user then has the option of standing anywhere in the text and pressing the ENTER button to wrap, and by wrapping, in a natural way, the subtitle is broken into two different titles while still keeping all the words in sync.","Said like that sounds like a piece of cake, but believe me, this is something non-trivial! And this is also how I have operated with regard to the separation of subtitles while they are being transcribed and generated: trying to isolate sentences or sentence segments (separated by commas, \",\") as much as possible, so that we always have meaningful content to display, without truncated sentences or with subjects being in one subtitle and verbs being in another subtitle."]},{"i":"i-got-a-publisher","l":"I got a publisher!","p":["At the end of 2022 I was contacted by the guys at FxFactory because they were interested in publishing some of my apps on their store, on their marketplace.","This filled me with joy, pride, and also with fear: for the first time I would be playing in the big leagues, and I would have to maintain much higher quality standards; this time I would not be doing everything myself, but I would also have to be accountable to someone else for my work.","Initially we had planned to bring a couple of my most popular apps, such as BeatMark Pro or FCP Diet 2, to this marketplace, adding features and cleaning up the interface.","I, however, proposed that they start with a completely new app, whose name initially was Transcriptor.","I initially met some resistance, partly because such apps already existed, such as the aforementioned Macwhisper.","I then explained the reasons why this new app of mine could be something alternative and provide added and different value than the others.","In concomitance with NAB, where several apps that make use of artificial intelligence to aid production and post production were presented or announced, those in charge of FxFactory were convinced and switched on the green light.","One thing needs to be emphasized: FxFactory is not only a store, a showcase, but those who run it put their faces first and consequently require a level of quality, communication, and even user experience that is far superior to what I had had up to that point.","If I had commercialized Transcriber all by myself, it would probably have come out in some form of its own in late April or early May 2023.","Instead, FxFactory raised my bar higher and higher, trying to reach heights of communication, user interface, functionality, and overall quality level that I was not used to.","And, I have to be honest, I don't think I can thank them enough for making me grow, and making me grow so fast."]},{"l":"Exporting to Final Cut Pro","p":["Initially Transcriber was not supposed to allow exporting subtitles to Final Cut Pro because I already have an application in my catalog that does just that, FCP SRT Importer 2, by the way one of my most successful applications (which means that the gentlemen at Apple and whoever is in charge of managing Final Cut Pro development should ask themselves some questions if so many people need such a basic feature...).","Let's say I didn't want to cannibalize myself, even though I knew Transcriber would be a higher cost application, there would probably be enough of a market for one to buy Transcriber bundled with FCP SRT Importer 2.","But then, again for that Florence job, I realized that the double step: transcribing the subtitles, revising, exporting the subtitles to SRT format, then bringing them back into FCP SRT Importer 2, and finally communicating the whole thing with Final Cut Pro, was really... a big pain in the ass!","In the end I had all the technology, the know-how, why not add this feature to Transcriber as well?","And so I did, in the span of only one day I added all the features that were already in FCP SRT Importer 2 directly inside Transcriber.","It has to be said that, having chosen to make the UI in SwiftUI, creating configuration panels was never very complex, and one could focus more on business logic than on appearance and user interaction.","In short, the app was taking shape the decidedly concrete way."]},{"l":"Multiple SRTs","p":["The work of doctors in Florence has evolved over time, and the client also asked me for the ability to view interviews, but with subtitles translated into various languages.","Nothing could be simpler: after doing the transcription and export in SRT format, I proceeded to have these subtitles translated; and then imported into FCP SRT Importer 2 to make the localized videos in the various languages.","This, however, resulted in a decidedly disrupted workflow where I could not actually see the effect of the translated subtitles without first exporting them, or making a peer comparison between each individual sentence from the original to the translated version.","So it is, in a moment of madness (Alex, for next time, remember not to do this kind of thing again with a product that has not yet been released!) I expanded the underlying model, the data structure, to allow multiple subtitle imports.","Basically now Transcriber allows you to have infinite streams of subtitles, in various languages, and also to show side by side the original and translated sentence.","It may sound like a triviality, but this is really a very powerful feature, especially for those working with \"minor\" languages, for which localization, translation, export, and management of different streams is an integral part of the production and post production process.","Basically, with all this work done under the hood, I had transformed Transcriber from an application that deals with a single link in the localization management chain, into an aggregation center that allows for a global and centralized view of projects, always in synchronization between text and video.","Oh boy, this stuff was getting serious!"]},{"l":"The Dome Factory","p":["In the meantime, we got to the beginning of June 2023, I kept asking to get the application launched, but the publisher kept asking me for more and more refinements and better management of the interface.","They were certainly right, but the timing of these final cleanups and subsequent approval left me with an open project, and every time I used it, which happens pretty much every day, I would come up with little features to add.","As a result, what should have been a \"Minumum Viable Product\" was becoming an increasingly complex application, and of course with the need to handle any bugs I would generate by adding new code."]},{"i":"videos-videos-videos","l":"Videos, videos, videos!","p":["Since I had started to develop a system for synthetic speech of more or less \"sufficient\" quality, I decided to change the way I make promotional videos and this time use a synthetic speaker.","This might be a more or less debatable choice, I am the first to fear very much the \"uncanny valley\" effect, but I believe that the quality level of synthetic voices has reached such a level that, in any case, at least from my point of view, it is preferable to a promotional video made with only overlay text.","So here I made my first promo video.","And, because the application is definitely complex, some things may even seem intuitive, but to understand how the workflow works in my opinion you need to sit down for a moment and understand a little bit what is the best way to operate, I decided to also make some tutorials of increasing complexity, making use of both screen captures and animations made with Adobe After Effects, which is the program I use most in my first job as a video maker.","This time I tried to maintain a distinctly high level of quality, not only in the promo but also for all the side videos, it was a really big effort, maybe it might not look like it, however trying to show things in a quick, effective, clear, understandable way without becoming pompous, is not a child's play...","Find all the videos I made for Transcriber here.","And, in addition, one important thing there is to say: every time I set out to make a tutorial, therefore trying to do things the way any user would do them, I find a lot of mistakes or things that can be improved, so to make a video of a few minutes, it can take me even several days because, in the meantime, I am working on the code and improving the interface or adding features."]},{"l":"The run-up before the jump","p":["By early July 2023, the application had reached a level of stability that FxFactory said was sufficient to be marketed.","I was then asked to create artwork and a minimum description for marketing, as well as a promotional video.","All things I had already prepared, however, small problem: in the promotional video I had made I had used an image taken from a very famous movie.","Nothing you can't see anyway in any kind of promotional material from this same movie, however, the publisher politely asked me to replace it with something else so as to avoid any copyright issues.","Datum done, in one day I revamped the promotional video and made all the art work.","I was basically ready to go."]},{"l":"The Launch","p":["The launch was set for July 6, 2023, I received the news in the early afternoon, and on that day, I remember it was a Thursday, I was playing with my son and listening to some music.","I was so excited by the news that I started dancing, making my son jump up and down.","It was a scene somewhere between tender and ridiculous...","At 9:30pm, Italian time, the application was launched, and I noticed because I got the first email notification of successful transaction.","I was finally able to post news of the launch on Twitter with the link to be able to download the app in trial mode (for the record: in the trial version it allows you to transcribe the first 45 seconds of the movie or import subtitles for the first 45 seconds).","I spent months raising expectations about this app on Twitter, to the point where I had probably lost some credibility as well: I felt I was ready to launch in late April, early May, and then instead it was a full two months later...","Was it worth the wait?","From the end users' point of view I don't know, from my point of view?","Heck, yes!","This was the craziest launch ever since I started having this small software development business.","Having a publisher like FxFactory behind me, I achieved in two weeks what I set out to achieve in two years!","This does not mean that I have become rich, this does not mean that the pressure has eased, and after the initial explosion, the values settle down to a more or less quiet regime.","And the first week, but perhaps also the second week, were weeks of great work on my part to improve the things that were missing, add the features that were requested, as well as fix some idiosyncrasies and bugs: I had never been able to test the application with complex languages like Chinese, Japanese, and Korean, and I found that syntactic construction and more or less \"special\" characters needed to be handled more accurately.","Let's say that I haven't slept, or slept very little, for about two weeks now..."]},{"i":"and-now","l":"And now?","p":["Now, that this app is in the world, since it is in the hands of so many people, I have discovered so many use cases and workflows that I had not thought about.","My task now, my commitment, is to satisfy as much as possible the requests of most users, going in and filling in any holes or things I had not thought of.","The first weeks, the first months after launch are characterized by a flood of new ideas and suggestions, many of which can be accepted and turned into new features, some of which cannot, because they would meet the needs of too few users or would be difficult to implement...","No app is perfect, no app is complete, software is increasingly something that is constantly evolving and transforming.","Very often I look back and think that many of the programs I have built over the years came about because Apple had not put some functionalities, even very basic ones, directly inside Final Cut Pro.","I have slipped into this \"niche\" by trying to find a way to speed up workflows and get users (but myself first and foremost) to focus on the more creative stages of the post production process, using the tools I create as if they were novice interns: young people who need to learn and need to be supervised, but who can contribute by doing boring, repetitive, even easy work with little added creative value.","In the meantime, I'm working on at least two or three other new apps that I'd like to bring to market, tools that can help video makers who do everything themselves speed up their work.","Well, the story, for now, stops here, but we can have a chat directly with the comments to this article, below, or follow me on Twitter, I am quite active and respond quickly...","Finally, if you want to find out about the other things I do, and other apps I have developed, you can find everything on my website: Ulti.Media."]},{"l":"Thank you","p":["At the end of this long article, I hope I haven't bored you, I would like to sincerely thank Chris for all the support he has given me these past months and all the knowledge he has provided... I can never offer enough beers to repay you!","Finally, thanks to the entire community on Twitter, who have supported me and put up with me patiently over the past few months while waiting for the release of Transcriber.","Thank you again, if, you have been an unparalleled energy boost!"]},{"l":"Discuss this page"}],[{"l":"Asset Management","p":["This page contains a collection of Asset Management tools for Final Cut Pro.","Want to contribute or add your Asset Management Tool? Learn more here!"]},{"l":"K"},{"l":"KeyFlow Pro","p":["An affordable, easy and scalable media manager for you and your team.","Store, sort, search, preview, annotate, share and more with KeyFlow Pro 2."]},{"l":"Discuss this page"}],[{"l":"Motion Templates","p":["This will eventually be a directory of the best Motion Templates.","In the meantime, we highly recommend Motion VFX.","There's also a database of free Motion Templates on FCPX Free: The World's Largest Collection of Free FCPX Plugins.","Create with a wide range of great video effects at FxFactory."]},{"l":"A"},{"l":"Adjustment Layers","p":["Adjustment Layers from FxFactory is a free set of tools to help with layering effects & elements in the timeline. Quickly connect creative effects like double exposure, split screens or apply a color grade across multiple underlying clips. Also included are utility tools that help you with guided alignments, animating elements and more."]},{"l":"Annotator","p":["Annotator is a set of flexible animated tools to mark or highlight part of your video.","With Annotator, you can draw on a hand-made arrow to point at something, throw a dotted box around something else, or even zoom in to focus on a solid circle. Though fully customisable options are included, this is not just another callout pack — it includes unique, exclusive recordings of hand-drawn animated shapes for an organic feel. Every shape includes several different options so you can use a new variation every time. You’ll find these shapes perfect for educational or instructional videos, cooking videos, reviews, or any time you need your viewers to look at something specific.","First, you’ll pick a style that suits your project — synthetic generated options with full control over stroke with and other line properties, or organic hand-drawn options recorded from the movement of a real pen. Next, from your chosen style, you’ll pick a shape:","Arrows to point at things.","Circles, Ovals, Rectangles and Squares to draw attention to something.","Lines to underline or highlight specific items and Zigzags to scribble items out. Zigzags are only available in the hand-made recorded styles.","Checkmarks (aka “ticks”) and Crosses to mark things as good or bad.","Zoom In, to magnify part of the image and optionally darken down everything else. Only available in the generated styles.","Every item here can be easily positioned, rotated and scaled using the on-screen controls. In the Inspector you can adjust many more properties about the shapes, like the color, the outline width, animation speed, and to change which organic recorded shape is shown. Dashed and Dotted styles include several relevant options so you can dial in the settings you want. Advanced controls let you add a drop shadow or a glow, or change the 3D rotation or anchor point.","All the shapes will work with any aspect ratio from vertical through ultra-wide."]},{"l":"B"},{"l":"BadAss Fx","p":["Arthur Moore makes some incredible free and paid plugins for Final Cut Pro.","His YouTube videos are also definitely worth checking out."]},{"l":"C"},{"l":"Chris Roy Films","p":["Chris Roy Films has a collection of Free FCP Templates, such as:","Keyframable 3D Camera","Parallax Push","Slide Wipe Advanced","Split-Screen Slide","Slide Wipe with Color"]},{"l":"Continuum FCPX Looks","p":["The Continuum FCPX Looks filter is a powerful plugin that includes a variety of presets for color gradients, diffusion, lighting gels, film stocks and lab processes!","BCC+ Looks Includes:","80 drag-and-drop presets","Award-Winning Mocha tracking through Pixel Chooser: Quickly mask & isolate effects","Fully customizable: Easily adjust hue-sat, brightness, contrast, grain, and more","8mm film stock, bleach by-pass, and day for night looks","Diffusion, color gradients, and lighting gels","Custom FX Editor: Browse and apply presets in seconds"]},{"l":"D"},{"i":"dylan-bates---the-final-cut-bro","l":"Dylan Bates - The Final Cut Bro","p":["Dylan has a bunch of awesome Motion Templates for sale including:","Pro Zooms For Final Cut Pro","Motion Tools Plugin • 90+ Tools For Final Cut Pro","Picture In Picture for Final Cut Pro","SABER by The Final Cut Bro","Clone Stamp Tool For Final Cut Pro","Truly Handheld Plugin v2.0 For Final Cut Pro","Pro Shapes Plugin For Final Cut Pro","MrBeast Titles For Final Cut Pro","Light Wrap for Final Cut Pro","You can use the discount code Saber10 for 10% off!"]},{"l":"F"},{"l":"FCPeffects","p":["In July 2011, Turner & Emma launched FCPeffects.com in an effort to help Final Cut Pro editors work more efficiently and effectively on a tight budget.","They continue to take pride in offering powerful tools at affordable prices and providing prompt, friendly customer service.","They are dedicated to Final Cut Pro X and its users. They are family owned and operated and consider themselves blessed to have the opportunity to do what they do."]},{"i":"fcpxtemplatescom","l":"FCPxTemplates.com","p":["FCPXTemplates.com is the \"storefront\" for Sight-Creations (the d.b.a. for F. X. Mahoney a.k.a., “Fox” Mahoney) since Nov. 1, 2013. There is also galleries of some of Fox's work, a few online tools like the Motion Template Backdater, and several blog entries."]},{"l":"FxFactory","p":["Visual effect plugins and apps for video creators. FxFactory is THE App Store for Final Cut Pro editors.","FxFactory is THE App Store for Final Cut Pro Professionals. It's like a \"pro\" version of the Apple App Store. The team behind it are also INCREDIBLE - so smart, so lovely, so talented.","Chris Hocking - 3rd June 2023"]},{"l":"L"},{"l":"LenoFX","p":["Awesome Plugins for Final Cut Pro. Perfect for Social Platforms and also for Work across a wide range of projects."]},{"l":"M"},{"l":"MotionVFX","p":["MotionVFX is a registered trademark of a company called MotionVFX sp. z o.o., founded by Szymon Masiak.","Szymon is well known in the computer graphic industry and has been working for over 25 years in the areas of computer games, commercials, and major motion pictures.","They are a small company of dedicated people based in the south of Poland.","They also make the BEST Final Cut Pro template and plugins in the world.","MotionVFX are incredible. They make some of the most amazing templates and plugin, taking into account ANY app. I've purchased hundreds of their plugins over the years, and they're all rock solid. A+","Chris Hocking - 3rd June 2023"]},{"l":"P"},{"l":"PiP Kit","p":["PiP Kit is a Picture-in-Picture plug-in. It's packaged as Effects, not drop zones in generators or titles, so you can trim, roll, copy and paste effects, and save effects presets just as you can with any regular clip. To get started, just drag one of the effects to one of your clips, and start tweaking the settings.","As well as a solid border color, you can use a gradient or outline gradient. Position the outline centered on the edge, the inside or outside, or use the Outline Offset to make something original. Remove the border entirely or leave just a shadow with the Fade Outside slider.","You can scale a PiP up from nothing, at a choice of speeds (Fast, Medium, Slow), or scale down from a full-screen shot to reveal a clip underneath. PiP Kit also includes a special set of transitions that only affect the connected picture, ignoring the background.","To use these, turn off the built-in transitions by unchecking the Build In and Build Out, then look in the transitions browser to find funwithstuff PiP Kit. These transitions have to be applied to the correct “in” or “out” side of a clip to work properly, but they do allow you to customise the way a clip enters or leaves the frame.","PiP Kit also includes several adjustment layer titles that change everything below them, and uniquely, these adjustments fade in and out. You can use the Obscure effects to apply your choice of blur, gamma, brightness, vignette and crystallize, which fade in and out with controllable speeds. Use the fade or wipe variants just above your background clips to make your picture-in-picture clips really stand out.","The last adjustment layer enables a very popular trick: punching in and out smoothly. Add the Zoom in and Out title, trim it to where you want the zoom to happen, then customise the speed. Easy, and useful even if you’re not using a Picture in Picture effect.","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Plugins","p":["A directory of Final Cut Pro Plugins (FxPlug4).","We're big fans of everything CoreMelt& Motion VFX do.","IMPORTANT: The recent Final Cut Pro v10.6.6 update has removed compatibility for all FxPlug3 based plugins immediately and without warning. This is true both for Intel Macs, as well as Apple Silicon Macs running Rosetta 2. Former workarounds are no longer viable, and opening a Library in Final Cut Pro v10.6.6 will force an update, making that library incompatible with previous versions of Final Cut Pro. Learn more on CoreMelt's Website","Want to contribute or add your Plugin? Learn more here!"]},{"l":"C"},{"l":"CoreMelt Plugins","p":["CoreMelt's mission is to bring powerful and flexible tools to video editors with simple workflow and at affordable prices. They take the tools from high end visual effects and bring them to you inside desktop software. Using our years of experience in feature films and high-end TV commercials they redesign complex user interfaces to make their software simple and intuitive to use. They also pride themselves on their customer service and responsiveness to their users.","CoreMelt is an Australian owned company founded by Roger Bolton, a visual effects veteran with over 15 years experience in post production and whose list of feature film credits include \"Lord of the Rings\", \"Kingdom of Heaven\" and \"Charlie and the Chocolate Factory\". Roger has worked as a visual effects supervisor, senior Flame operator and lead compositor all over Asia as well as in the UK and Australia."]},{"l":"PaintX","p":["PaintX is powerful vector based tracked paint. Instant fixes for damaged footage, paint on tracked effects, add tracked warps and glows. Create digital makeup effects and more."]},{"l":"SliceX","p":["SliceX lets you quickly create tracked Shape Masks to cut out layers or isolate effects. SliceX powered by mocha takes the pain out of following complex motion, just draw a shape and hit track. You can then adjust with manual keyframes as needed giving you ultimate control in a way not easily done with the built in tracking."]},{"l":"TrackX","p":["TrackX lets you track text or graphics to background movement , or track and insert a layer for screen replacements, to replace a sign, or extend a set."]},{"l":"DriveX","p":["DriveX tracks 3D text, particles, callouts and visual effects to your footage with 30 premade templates."]},{"i":"lock--load-x","l":"Lock & Load X","p":["Lock & Load is the fastest and most robust stabilizer for FCP X. Lock & Load is more than 3x faster than the built in stabilizer in FCP X and includes rolling shutter reduction and advanced region of interest stabilisation."]},{"l":"LUTx","p":["LUTx is a simple and yet very powerful LUT / color look solution for Final Cut Pro X. Our interactive LUT gallery lets you see all your LUTs instantly on your own footage."]},{"l":"ModelX","p":["ModelX is a versatile utility for adding and retextureing 3D models inside FCP. Grab a model from a popular site like SketchFab, add a logo onto it, and place it into your edit, all in minutes."]},{"l":"StyleX","p":["StyleX lets you apply a selection of trained machine learning video styles onto your footage to create unique textured effects that are far more than just color correction. Take a look at some examples of usage below, each product has a full range of video tutorials."]},{"l":"Discuss this page"}],[{"l":"Tools","p":["This page is dedicated to handy applications that can be used in conjunction with Final Cut Pro.","Something missing? Submit your favourite tools! Learn more here!"]},{"l":"A"},{"l":"ARC-X","p":["ARC-X safely archives your Final Cut Pro X projects and backs up all the elements in your edit including:","video and audio media files","graphics and still image files","fonts","3rd-party plugins","Easy Media Backup Backing up your FCPX events, projects, and clips is quick and easy. Drag and drop your project directly into ARC-X and start the backup. ARC-X gives you complete control over exactly which files to backup. Archive any combination of your project's video, audio, and graphics files - even the fonts and 3rd-party plugins used in your edit can be archived.","Simple, One-Step Restore When it's time to revise or restart your edit, restoring your a project is a simple one-step process. Import the ARC-X generated XML file into FCPX and your project is restored to its original state in seconds including titles, effects, transitions, keyword, and markers.","Powerful Media Management Use the ARC-X media inventory spreadsheet to track your project's media files, fonts, and 3rd-party plugins. The Excel-compatible file gives you detailed info on every piece of media including its original FCPX storage location.","Whether you want to protect your projects and media by archiving them for long-term storage or share them today with colorists, FX designers, and other editors, ARC-X makes it a simple and easy process. Your keywords, markers, titles, effects, fonts, and 3rd-party plugins are all preserved."]},{"l":"Audio Design Desk","p":["Audio Design Desk is to audio software what Pro Tools was to the tape machine. It’s an entirely new breed of Digital Audio Workstation that artists can play like an instrument, revolutionizing the process of adding music and sound effects to picture and cutting down what can typically be a full day project to just a few minutes. It comes bundled with 75,000 sounds embedded with patent-pending Sonic Intelligence™, using AI-assisted content creation tools to enable filmmakers, sound designers, composers, and creators to produce cinema-quality compositions at the speed of thought, giving them a level of creative control that is unmatched by any other software."]},{"l":"B"},{"l":"Backups for Final Cut Pro","p":["Ever had an FCP X library corrupted so you can't launch it? Ever gone down an editing path you didn't like and find you can't undo it? Backups for Final Cut Pro will get you out of such situations.","Install it before you need it!","Backups for Final Cut Pro is like Time Machine® for Final Cut Pro X®! It performs timed and manual snapshots of your FCP X Libraries, Projects and Events."]},{"l":"BeatMark Pro","p":["Automatic Music-Driven Video Editing for Final Cut Pro.","This software is awesome. Beautifully built, and incredibly useful.","Chris Hocking - 3rd June 2023"]},{"l":"Builder NLE","p":["There's a new app on the Mac App Store! Introducing Lumberjack System Builder NLE!","On the anniversary of the release of Apple’s Final Cut Pro X, Lumberjack System has released their Text Based Editing app as a one-off purchase in the Mac App Store.","The original and most complete Text Based Editing solution for Final Cut Pro has long been available as part of the Lumberjack System Membership. This version makes Builder NLE more easily found, and more accessible to Final Cut Pro users who want a complete Text Based Editing environment for Final Cut Pro.","Builder NLE in the Mac App Store is the same app that is available through the membership, but without access to the wider Lumberjack live logging tools. It continues to include unlimited free transcription in 16 languages, closed caption support on Stories, unlimited stories, a comprehensive Keyword Manager, and extremely powerful search and filter tools to get you to your stories faster.","You can learn more about Lumberjack Builder here."]},{"l":"C"},{"l":"Canister","p":["Canister takes the hassle out of LTO.","So easy... it's like LTO for Dummies.","Keenan J. Mock, LightIron"]},{"l":"Caption Burner","p":["Caption Burner is a plugin for Final Cut Pro, Premiere Pro, After Effects and Motion that lets you burn captions and subtitles into your video.","Caption Burner helps deliver video for platforms such as Instagram® that do not allow caption information to be submitted as metadata."]},{"l":"Caption Converter","p":["Caption Converter is an app for macOS that lets you import, export, edit and translate caption and subtitle information in the following formats: iTunes Timed Text (iTT), WebVTT (VTT), SubRip (SRT), SubViewer (SUB), Adobe Encore Script and Adobe Premiere Pro Markers (CSV)."]},{"l":"Captionator for Final Cut Pro","p":["Captionator for Final Cut Pro uses the hardware inside your Mac to automatically generate captions and high energy titles like you see on all the biggest YouTube and TikTok videos. You can easily keyframe or animate individual words, or entire sentences."]},{"l":"Change List X","p":["Finally, you reached picture lock and send the project off so the sound department can start work. Which they do. Except a week or two later, there’s just “a few minor changes when the director took another pass”…","And that’s where a Change List comes in. Because “Final” is never “Final” and “Locked” is regularly “Unlocked” again.","Change List X analyses two Final Cut Pro X Projects and produces a change list comparing the Primary Storylines of the two versions of the edit.","The report lists the changes that need to be made to the initial cut to match the new edits, step by step","The report can be created as a PDF, tab-separated text file, or both","Report times can be shown as either Timecode, Feet+Frames or Frame Count","Change List X can also create a change pull list (for new footage added to the timeline) and a change discard list (for footage that needs to be removed from the timeline)","What is a Change List and who uses them?","A Change List lists changes made between one edit and another version of the same edit. This comes into play when you’ve handed over the “Final” version to VFX, post audio and a color pass.","Inevitably there will need to be some additional edits, for whatever reason. Another pass by the Director, Studio suggestions, feedback from a focus group: it’s inevitable.","Except those teams have already moved ahead with their jobs and have complex projects built around the timing of the first edit. They can’t take the new edit and start over. What they need are the steps to convert the version they been working on, to the latest revision: how many frames trimmed here, or added there; which shots have been added, and which deleted or replaced.","The Change List is the step-by-step instructions to convert the current project to conform to the new edit. This is frequently a manual process but there are advanced tools that use the text-based change list to automate the changes."]},{"l":"Cinecred","p":["Create beautiful film credits without the pain.","Licensed under the GPLv3, everyone can use Cinecred free of charge forever. The source code is publicly available in a GitHub Repository. Contributions, bug reports, and suggestions are welcome!"]},{"l":"Use Your Favorite Spreadsheet Editor","p":["Cinecred can read the raw credits data from a Credits.xls(x) (Microsoft Excel), Credits.ods (OpenOffice/LibreOffice Calc), or Credits.csv file. Edit it with your preferred spreadsheet tool, integrating perfectly with the rest of your production workflow. Need to add a credit or fix a typo later on? Just change the spreadsheet!"]},{"l":"Live Visualization","p":["While editing the credits data and its styling, Cinecred continually updates an interactive visual preview and indicates any problems with the Credits file. Optional layout guides (press the red button in the screenshot) make both learning Cinecred and styling your credits dead easy."]},{"l":"Interactive Styling","p":["All the styling options Cinecred provides might seem overwhelming at first. But the interactive nature of Cinecred—including contextual input, live application of changes, and easy reverts—make it intuitive and fun to play around with different settings and thereby explore and learn Cinecred’s styling system. In addition, a comprehensive User Guide is readily available."]},{"l":"Get Started Immediately","p":["Cinecred initializes new projects with a template that covers many common use cases. Start entering your credits straightaway and learn how to further customize them as you go."]},{"l":"Flexible Design","p":["In addition to standard use cases, Cinecred’s flexible styling system enables a wide range of layouts and designs. Whatever you have in mind, Cinecred can likely assist you in implementing it."]},{"l":"Your Desired Runtime","p":["Have to add another name, but the score has already been recorded and synced to the earlier version? Just tell Cinecred the desired runtime of the whole credits or specific sections, and it will shrink vertical gaps to exactly match it—without resorting to shimmer-prone fractional scroll speeds. Test it yourself and press the red button in the screenshot!"]},{"l":"Play Back at Any Time","p":["Want to watch your credits in motion to verify your latest changes? Just like your favorite editing suite, Cinecred offers instant real-time playback at any time. No need to wait for your credits to render out. Also supported are the JKL shuttle keys."]},{"l":"Manifold Delivery Options","p":["Does your post-production workflow require ProRes, PNG sequences, or even TIFFs which you animate yourself? Do you want to send around PDFs of the credits for checks? No matter what the need, Cinecred probably has you covered. Expand the red dropdown in the screenshot to see all supported formats."]},{"l":"Cinecred Is Not Opinionated","p":["Cinecred was specifically designed to cater to every user’s needs as fully as possible, without adding bloat, making it hard to use, or requiring a steep learning curve."]},{"l":"Cleanterview","p":["Cleanterview helps you to clean up effectively and efficiently the audio track of your videos, ideal for interviews, for video-selfie, for any occasion when there is someone talking and… you want to hear it and make it sound better!"]},{"l":"CommandPost","p":["CommandPost is a free and open source macOS application that bridges between control surfaces and software that doesn’t support them natively, such as Apple’s Final Cut Pro and Adobe’s After Effects.","It’s been downloaded over 163 thousand times, and there are over 2.6 thousands members in our Facebook Community.","It’s been translated into Arabic, Bengali, Catalan, Chinese (Simplified & Traditional), Danish, Dutch, French, German, Greek, Hindi, Hungarian, Italian, Japanese, Korean, Malayalam, Norwegian, Panjabi/Punjabi, Polish, Portuguese, Russian, Spanish, Swedish, Ukrainian & Vietnamese by our awesome community.","It’s used by filmmakers, developers, scientists and macOS power users all over the world to seriously speed up mundane tasks through powerful and customisable automation tools.","For example, you can apply individual effects within Final Cut Pro or After Effects with the single tap of a button.","Powered by Lua(the same scripting language used by Blackmagic Fusion, Adobe Lightroom and even parts of Apple iOS), it's insanely customisable and powerful.","It runs natively on Apple Silicon and is fully compatible with Hammerspoon.","You can listen to Chris explain CommandPost on Final Cut Pro Radio Episode #57 and Episode #43."]},{"l":"User Quotes","p":["“ Titles to Keywords is a huge timesaver when editing complex scenes. Couldn’t live without it anymore. And directors love that every delivery of any line from any take is just one click away! ” Knut Hake- Editor on Netflix's Blood Red Sky","“ CommandPost and FCP are so intertwined on my day to day that I see them as one app! ” Marcos Castiel BFE- Editor on Netflix's Turn of the Tide","“ Command Post started as a FCPX utility but it goes further than that. You can use it to map almost any function to supported hardware devices to work with any app like a BMD Speed Editor and Avid Media Composer! ” Marc Bach- Editor & Colourist","“ Chris's support is the best you will find anywhere on the planet. He was proactive and able to implement features for me on the spot. 5 STAR product 5 STAR support. ControllerMate is what I used to use. CommandPost is faster and easier. ” Ross Batten- Senior Sound Designer (ProTools)","“ Search Console is like Spotlight on steroids. It can quickly find and execute any obscure command, NLE and OS-wide, fire up keyboard makros (scripts), and especially, find and place Effects and Effect Templates, directly onto selected clips in my FCP timeline. It constantly saves me clicks. ” Florian Duffe- Editor","“ CommandPost is so many things for so many people. For me it is a Final Cut Pro automation system that unlocks hidden features and uniquely supports advanced workflows. CommandPost’s secret weapon? Deep connections with the postproduction community which mean that it constantly improves as the needs of editors and post professionals evolve. ” Alex ‘4D’ Gollner- Motion Template Creator","“ Chris, you have no idea how helpful your Titles to Keywords toolbox has been on our latest production. Without the toolbox these 2-3 hour long timelines (around 900 keywords) would have been nearly impossible to tag with the FCP built in way. It's very long scenes with around 50 lines of text for all characters. ” Sam Pluemacher- Assistant Editor on Netflix's Blood Red Sky","“ As someone who doesn’t like clicking to do things, CommandPost makes my work much more likeable! ” Oli Frost- Editor","“ CommandPost supports my Loupedeck, Stream Deck and Razer devices with advanced Final Cut Pro integrations. Eliminating the need for multiple apps and reducing complexity. ” Sam Pluemacher- Assistant Editor on Netflix's Blood Red Sky","“ CommandPost is the first thing you should install If you like to tinker. This genius app extends Final Cut Pro in all kinds of ways, enabling advanced workflows, automation, and even integration with external hardware such as MIDI controllers. Recommended. ” Iain Anderson- Author of Final Cut Pro Efficient Editing"]},{"l":"Compressor Repair","p":["Compressor Repair checks for problems that could be preventing Compressor from operating correctly. It checks for missing files, incorrect permissions, an invalid hostname, and attempts to manually start the qmasterd process."]},{"l":"Csv to Motn Generator","p":["A batch program for Apple Motion. For generating a lot of motion files based on a template. Perfect for bumpers, conference intros, supers(lower 3rd), commercial spots (end posters or the whole thing), graduation yearbooks, information videos or even use it at the house of worship for bible texts.","Input is taken from a CSV file, with all the names and info. Drop it on CSV to motion generator and drop a motion project into it as well, now set up the patching of fields and choose your output folder. Csv to Motn Generator now starts to output one .motn file per line (row) from the CSV file."]},{"l":"D"},{"i":"detail-video-studio","l":"Detail: Video Studio","p":["Connect your iPhone or iPad to instantly upgrade your video, or use any USB camera, capture card, or webcam.","Detail turns your M1/M2 Mac into a powerful, all-in-one video production studio. Whether you’re creating an engaging online course, an immersive video podcast, or a polished product demo, Detail makes video production simple for everyone.","Detail works with the camera(s) you already have so all you have to do is hit record.","Easily export videos and clips to share with your audience, your editor or your team.","Get creative: Bring your videos to life with custom branding. Add titles, text, backgrounds, and images.","Get started in seconds.","Get total flexibility with magic canvas — Seamlessly switch from horizontal to vertical video, or remix your shots to create truly dynamic content.","iOS companion app: With Detail for iOS you can use your iPhone or iPad as a high-quality camera with your Mac. Connect multiple iOS devices over WiFi or USB and use any lens on your device.","Kickstart your next video with tons of free, customizable templates.","Live video: Go live on your favorite streaming platform directly from Detail or use Detail as a webcam for work calls, presentations and meetings.","Make every shot the perfect shot: AI-powered auto framing means the camera stays on you.","One simple app. Everything you need.","Plan and produce: Set up your scenes before you record and spend less time on your edit.","Record horizontal and vertical video at the same time.","Record your camera and screen, or multiple camera angles at the same time, in one take.","Record, remix, and share inspiring video in minutes. Supports exporting to FCPXML.","Shoot Once. Record Everything.","Shoot Once. Remix Everything.","Shoot Once. Share Everywhere.","Split, cut and reorder your clips, or swap out a whole scene for a better take.","Turn your long-form content into bitesize, shareable clips with automatic AI-generated video highlights.","When you hit record, Detail captures everything in sync so you never miss a moment."]},{"l":"E"},{"i":"editingtoolsio","l":"EditingTools.io","p":["EditingTools.io is a collection of web-based generators, scripts and converters designed for various post-production purposes. Optimized for workflows with Adobe Premiere Pro, Avid Media Composer, DaVinci Resolve and Apple Final Cut Pro X.","It's an AMAZING website that you should definitely check out."]},{"l":"EditReady","p":["Since 2008, EditReady has had your back when your NLE doesn’t support your camera’s file format. And now, we're turning it up a notch with EditReady Pro!","I've been using EditReady for years. It's super fast. Very clean, and logical app. Almost perfect.","Chris Hocking - 3rd June 2023"]},{"l":"EDL-X","p":["Create Edit Decision Lists - EDLs - from Final Cut Pro X XML files. The EDLs can conform to the CMX 3600 standard and can be used to bring your cut into post production systems like DaVinci Resolve, Smoke, as well as various non-linear editing systems.","EDL X features flexible Source Reel Name handling:","Source names can be read from XML files, or directly from the QuickTime files used in the project.","Alternatively, media file names, or full file paths can be used.","Source names can be made to conform to strict CMX standards (three numbers), or 8, 16, 32 or unlimited alpha-numerical characters.","All source names are user-editable, on a per-source basis.","Roles can be used to filter the clips reflected in the EDL.","Metadata associated with the footage - or added in FCP X - can be shown in the EDL as comments. This is provides a way to pass ASC CDL values on to color grading.","EDL-X can be set up so that EDLs can be made directly from Final Cut Pro's Share menu.","The app can list effects including some parameters and keyframes.","EDL-X groups all video and audio clips into as few tracks as possible. Each video track gets its own EDL, with synch audio in the same EDL.","Drag and drop XML files to create EDLs, or drag projects directly out of FCP 10.3."]},{"l":"evrExpanse 3","p":["More powerful than ever!","How to import EXIF metadata into NLEs? How to transcode Master files and embed metadata? How to do these things in an easy and smart way?","New:","Added Rating Metadata support for Canon and Panasonic Cameras.","Transcode Plus©: Streamlined Transcoding and Metadata Export","Rotate Transcoded Files Based on Source Metadata","Lightning-fast metadata exports with Epstein class engine","Final Cut Pro XML import with media file and metadata","Assimilate SCRATCH integration with media and metadata","ASC MHL integration for creating MHL’s files"]},{"l":"evrX 2","p":["Fast, Simple, Powerful...","evrX 2 makes camera metadata into macOS Finder Tags allowing you to import metadata in Final Cut Pro."]},{"l":"F"},{"l":"FCP Cut Finder","p":["FCP Cut Finder analyzes a movie and identifies cut and editing points, then sends the result to Final Cut Pro."]},{"l":"FCP Diet 2","p":["FCP Diet 2 is the most innovative, powerful and effective solution for managing projects and save space with Final Cut Pro libraries."]},{"l":"FCP SRT Importer 2","p":["Import subtitles in SRT format as titles in Final Cut Pro.","This is my preferred tool for importing SRT files into Final Cut Pro. Works great - beautifully designed software.","Chris Hocking - 3rd June 2023"]},{"l":"FCP Video Tag","p":["FCP Video Tag automatically generates keywords based on media content to be used in Final Cut Pro."]},{"l":"FCPX AutoDuck","p":["Automatic Ducking for Final Cut Pro X.","I used to duck audio by hand. Sometimes it took me hours. Now just 5 seconds!","Rick Untanee"]},{"l":"FCS Remover","p":["FCS Remover allows you to uninstall all Final Cut Studio, Final Cut Express, Final Cut Server or Final Cut Pro X components with the press of a button."]},{"l":"Final Cut Library Manager","p":["Final Cut Library Manager instantly displays all of the Final Cut Pro X libraries that it finds on your Spotlight-indexed drives. When a Library references external media Final Cut Library Manager will automatically create a group to clearly present the distribution of these media files across your system. You can also add other sources : including external disks, or folders, including those not indexed by spotlight."]},{"l":"FindrCat","p":["Simple, Easy & Inexpensive organization for your Final Cut Pro X Media. Translate Keywords into Finder Tags that are fully searchable in macOS Finder. With the Pro upgrade all keyword ranges, notes, markers, favorite and reject ranges and more, are all returned to Final Cut Pro X."]},{"l":"FoolCat","p":["Beautiful, customizable, and easily shareable camera reports.","FoolCat does one thing, and it does it exceptionally well. It is an indispensable tool in my go-to toolbox.","Philip Grossman"]},{"l":"FxFactory","p":["Expand your abilities with a wide supply of effects, plug-ins & templates for Final Cut Pro & Motion. Explore your creativity using free watermarked trials. Fully functional testing gives you confidence to purchase products that fit your needs. Simply browse & install products, then manage your collection as it grows. When switching between systems, your configuration & purchase history is seamlessly available. Discover how products we deliver will improve your workflow. Watch hundreds of demonstration videos & content previews on our YouTube Channel.","Resources for Support& Developers"]},{"l":"K"},{"l":"KeyClips","p":["The MovieSlate KeyClips app organizes Final Cut Pro X (FCPX) media into category folders, keywords, selects, and sequences- with notes, markers, and optional bottom-third titles. This helps Editors quickly find the exact footage they need.","While filming a production: log shots, notes, and/or keywords with our MovieSlate 8 app (for iOS). The KeyClips app (for macOS) matches logged MovieSlate metadata with FCPX media to intelligently generate FCPX rough-cut sequences, keywords, selects, notes, and markers.","Two Logging Workflows are supported, and can be used together or separately:","Shot-based workflow: project/date/clipname data is used to match log data with clips- well suited for script-based shoots. Log this data from MovieSlate's \"Slate\" and/or \"Camera\" tabs.","Keyword-based workflow: project/date/timecode is used to match log data with clips- well suited for documentary, reality, and interview shoots. Log this data from MovieSlate's \"KeyClips\" tab (part of an optional PRO Features subscription; available from MovieSlate's Settings > Store).","How it Works:","Logging. Log shots, notes, and/or keywords from MovieSlate 8. Once logging is complete, tap the share button to send the logged data to a Mac running macOS Yosemite (v10.10) or newer.","Log+Clip Matching. Run the KeyClips app on macos- which imports logged data from MovieSlate; imports fcpxml files from FCPX; matches logs and clips; builds new fcpxml; and sends its new fcpxml to FCPX.","FCPX Organizing. FCPX imports the KeyClips app's new fcpxml file- creating events with category folders, selects, markers, notes, sequences, and bottom-third titles."]},{"l":"M"},{"i":"media-copy-40","l":"Media Copy 4.0","p":["Automatic Duck’s Media Copy is a very helpful utility that reads Avid AAF exports or XML files from Final Cut Pro, then copies the media files referenced by the project to a location you specify. This makes it very easy to identify and copy the media you need for a specific AAF or XML File. You can archive the media, or perhaps send to another computer."]},{"l":"Media Sync Tool","p":["Media Sync Tool is a revolutionary sync tool for Final Cut Pro.","By utilizing jam-synced SMPTE timecode and metadata from the source media, it automates the sync process to the point where almost no human involvement is required, while automatically dealing with overlapped timecode.","Now all Final Cut Pro video editors can fully eliminate the time-consuming routine of manually syncing dailies by using Media Sync Tool in a bundle with Final Cut Pro."]},{"l":"N"},{"l":"NeoFinder","p":["NeoFinder(formally CDFinder) quickly catalogs and manages your entire media and disk library, and your backup archive.","The Holy Grail of Media Asset Management (according to ZDNet).","NeoFinder keeps track of your documents, photos, songs, movies, and folders wherever they are stored.","NeoFinder is your digital treasure chest! It even manages your Affinity Photo and Affinity Designer documents.","Catalog your digital data: SSD, hard disks (internal, external, USB, FireWire, Thunderbolt, HFS+, APFS, NTFS, ExFAT, FAT32), server volumes (AFP, SMB, FTP, Dropbox, Backblaze B2), Blu-rays, LTO volumes, USB sticks, DVD-ROMs, Audio-CDs, and get a full inventory of all files, folders, and important metadata, including thumbnails for your photos, songs, video files and other documents.","Find your files NOW! Whatever you need to find, NeoFinder knows where it is! If you are a desktop user, or work in a small or large network, you stay in control of your data at any time.","I've been using NeoFinder for over a decade now. We have hundreds of external hard drives and hundreds of LTOs all catalogued.","We store our NeoFinder database on Dropbox and share it between all our staff. It's rock solid and amazing.","Chris Hocking - 6th June 2023"]},{"l":"O"},{"i":"offshoot-formally-hedge","l":"OffShoot (formally Hedge)","p":["Offload media lightning fast, whether it's video, stills or audio. Make your life easy and let Hedge do the tedious jobs.","I've been using Hedge since it first came out. It's my preferred data wrangling tool. I've used it on feature films, television shows, television commercials, music videos, and everything in-between. It's awesome.","Chris Hocking - 3rd June 2023"]},{"l":"P"},{"l":"PostLab","p":["Collaborating with other editors was never this easy."]},{"l":"PostSync","p":["More than just sync, PostSync helps prepare your macOS workstation for the daily demands of your post-production workflow.","PostSync is a multi-use tool that is designed as a macOS startup utility; syncing templates and presets, clearing caches, connecting shares, launching apps, etc. But it has many uses beyond that…","PostSync can synchronize 30 different presets and templates (plus user fonts) between several edit workstations to keep all systems current. It can also help when transitioning to working remotely by copying these files to a thumb drive and transferring them to a second workstation. Or the same function can simply be used to create a backup of these files.","PostSync can also backup and restore/transfer application general preferences from Final Cut Pro, Premiere Pro, After Effects and DaVinci Resolve. It makes setting up a new workstation easier.","PostSync can help with nightly cleanup of render/cache files by clearing older files by a set date. Completely customizable for any folder on your Mac.","All this can be done either manually or completely automatic using a Calendar event or launched at login.","Your choice… PostSync is built to be easy to setup and very customizable."]},{"l":"PostWatch","p":["Alerts from Post-Production applications and macOS sent to the Pushover smartphone app.","“Is that file done yet?”","Working remotely, in the next room or out for a walk? Need to know as soon as that export or transcode is finished? Need to know about applications crashing, power going out with out knowing or drives failing or running out of space while you are away?","Now this and more is possible!","PostWatch uses the established subscription free service, for iOS and Android, Pushover to create a dedicated, clean and reliable experience for receiving alerts. What It does not do is clutter up your inbox with texts or emails that often get lost or forgotten.","PostWatch not only alerts you when 14 different Mac apps have completed exporting/encoding, it also monitors the Mac for issues; Such as accidental ejected disks, app crashes/freezes, power loss and more.","No plugins, special application settings or rendering to watch folders. (except setting a few system preferences) Export, render and transcode as you normally do and PostWatch does its magic in the background."]},{"l":"Preference Manager","p":["Preference files store information about user preferences, window layouts, toolbar placements and launch settings. Sometimes these can become corrupted, causing problems. Preference Manager allows you to trash corrupted preferences and keep backups of working preference files in order to quickly restore your settings."]},{"l":"Pro Maintenance Tools","p":["Pro Maintenance Tools keeps your editing system running smoothly so you can quickly get back on track in the event of a problem.","Use the diagnosis tools to determine the cause of the issue by analyzing crash logs or locating corrupt media files, then use the repair tools to fix the problem.","Pro Maintenance Tools supports Final Cut Studio, Final Cut Pro X, Avid Media Composer / Symphony and Adobe Premiere Pro for Mac."]},{"l":"Pro Media Tools","p":["Pro Media Tools is a suite of workflow tools designed to simplify media management and streamline workflows in Final Cut Studio, Final Cut Pro X, Avid Media Composer and Adobe Premiere for Mac. The suite contains tools for editing QuickTime movie metadata, watching render files, editing markers, and much more. The applications are capable of outputting a variety of file formats to suit different editing systems and workflows."]},{"i":"producers-best-friend","l":"Producer’s Best Friend","p":["Clips (with optional thumbnails)","Clips and Roles/Subroles Reports","Effect name; On/Off; Apple (Apple vs third-party effects); Clip Name; Role ▸ Subrole; Timeline In; Timeline Out; and Clip Duration.","Eliminate Clip Reporting hell! Every Report you need from Final Cut Pro X, in a formatted spreadsheet with no EDL or copy and paste!","Generate as many reports as you need: create a music usage report; create a report of every clip used in a Compound Clip or Project, or every clip in an Event; report stock footage used, to order the full resolution for online; list out all Effects, Transitions, Titles and Generators used to smooth online finishing (the Apple column shows whether it’s a standard effect or transition compared to one created by a third-party); report all the comments in your Markers.","Generate one report for the whole timeline, or report role-by-role.","Keyword; Notes; Timeline In; Timeline Out; Duration; Clip Name; and Role ▸ Subrole.","Keywords","Keywords and Ratings Reports:","Marker Name; Type (Standard, Incomplete to-do, Completed to-do, or Chapter); Notes; Timeline Position; Visible; Clip Name; and Role ▸ Subrole; Reel; Source In; Source Out; and Source Duration.","Markers","Markers Report","Name; Enabled; Apple (Apple vs third-party generators); Role ▸ Subrole; Timeline In; Timeline Out; Clip Duration; Font; and Title Text.","Producer’s Best Friend can generate music use reports as well as Video and Audio Effects, Roles and Subroles, Transitions and Markers directly to a fully formatted Excel spreadsheet, without the convoluted use of an EDL or copy/paste techniques.","Producer’s Best Friend creates a formatted .xlsx spreadsheet report (for Numbers, Excel, Preview, etc.) about the video clips, audio clips, titles, generators, markers, keywords, effects and transitions in your timeline or event to help you make batch lists, cut lists and music cue sheets. Producer’s Best Friend reports on Clips in a Library, Event, Compound Clip or Project. The report includes sheets for:","Producer’s Best Friend takes the tedious work out of creating all kinds of clip usage reports. Report on clips in an Event (like Batch List in FCP7), clips in a Compound Clip or clips in a Project in an Excel spreadsheet in seconds. Why spend days doing a boring task when it can take minutes?","Producer’s Best Friend will get you home earlier by:","Producer’s Best Friend will save you money because:","Providing full control over the report: choose which roles/subroles are included.","Ratings","Reports can be further processed in your spreadsheet application for formatting and additional detail, if required.","Roles/Subroles (with optional thumbnails)","Speeding the reporting of clip usage for music reports, stock footage requests, effects used, markers and keywords with amazing flexibility. Reports are complete in seconds, not hours or days.","Summary (with missing media and generators)","Titles & Generators","Titles & Generators Report:","Transition name; Category; Apple (Apple vs third-party transitions); Timeline In; Timeline Out; and Duration.","Transitions","Transitions Report:","Video & Audio Effects","Video & Audio Effects Report","Video thumbnail; Role ▸ Subrole, Clip Name, Category (primary, secondary, connected); Enabled; Timeline In; Timeline Out; Clip Duration; Source In; Source Out; Source Duration; Markers; Keywords; Effects; Notes; Reel; Scene; Take; Camera Angle; Camera Name; Frame Rate/Sample Rate; Frame Size/Audio Config; Source File Path; then columns for clip metadata.","You can choose which Roles to include in the report (Video, Titles, Dialogue, Music, Effects, and any roles and subroles you’ve created), and Preferences lets you choose whether times are displayed as seconds, frames, feet+frames or HH:MM:SS:FF timecode format.","You have full control over the report: choose which Roles to include in the report(s) including Roles and Subroles you’ve created.","Your clip reports are completed in seconds instead of hours or days."]},{"l":"R"},{"l":"Reference X","p":["Reference X is designed for FCPXML file. Listing source files from FCPXML, edit and export to new FCPXML. FCPXML is exported from Apple Final Cut Pro, Blackmagic DaVinci Resolve, Autodesk Flame, Luma touch Luma Fusion. FCPXML is simple xml formate for send and recived Final Cut Pro editing information designed by Apple."]},{"l":"S"},{"l":"ScopeBox","p":["All the audio & video scopes you'd expect from hardware, and many many more. A custom toolset crafted for creative professionals - colorists, editors, DITs, and sound. Mix and match scopes, save layouts, and be confident that you're seeing every pixel and every frame of your signal."]},{"l":"SendToX","p":["SendToX (previously called 7toX) brings your Premiere Pro or Final Cut Pro 7 or 6 XML into Final Cut Pro X so you can use Apple’s powerful new professional editing tools to update or finish your older projects. The lightweight application is simple to use, with drag-and-drop support and progress information. SendToX translates important metadata from your Project XML — including bins, clips, subclips and sequences — to a new Event in Final Cut Pro X with the highest fidelity of any translation application for Final Cut Pro. In addition, the application provides clear, detailed reporting after every translation."]},{"l":"Shot Notes X","p":["Add a suffix or the camera angle to the clip names","Add Favorite or Reject to your clips (Final Cut Pro Only)","Add Keywords to your clips (Final Cut Pro Only)","Add Notes to your clips","Add scene, take, or angle information to your clips","Create and Event/Bin for each scene with the clips from that scene\\","Export a list of clips with common metadata from your XML that can be opened in spreadsheet applications to aid in logging","Export a template shot log to take notes with while on set","Features:","Match clips with notes automatically using filename, clip name, timecode, or scene take and angle.","Rename the clips using the scene and take","Set the parent or subrole for your clips (Final Cut Pro Only)","Shot Notes X combines the notes data with clips from a FCPXML, into a Final Cut Event or Premiere bin with complete metadata and named clips. In your NLE the notes are searchable via the search tools, and viewable in the list view enabling editors to quickly find the shot using their notes.","Shot Notes X has been a big hit with editors, script supervisors, and post-production supervisors.","Shot Notes X, automatically combines notes from a CSV, ScriptE XML, or Movie Slate XML file with clips from Final Cut Pro X and Adobe Premiere.","Shot Notes X, reduces the amount of work required to start editing, saving time and money. In only a few seconds Shot Notes X can have all notes from a spreadsheet applied to the footage, making it ready for editing.","Supports Synchronized Clips and Multicam clips.","Use ScriptE, Movie Slate, or your favorite spreadsheet application to take notes on location or while watching dailies, then use Shot Notes X to bring those notes into Final Cut Pro or Adobe Premiere using the template provided by Shot Notes X. CSV files can also be exported from various on set script supervision applications, or FileMaker Pro."]},{"l":"Shutter Encoder","p":["Shutter Encoder is one of the best video converter software, it handles images and audio too!","It has been designed by video editors in order to be as accessible and efficient as possible.","Shutter Encoder makes use of FFmpeg to handle its encoding, allowing support for almost every codec you’ve ever heard of, and many more you haven’t.","Don’t just take our word for it though, Avid themselves recommend Shutter Encoder as part of your Media Composer and ProTools ingesting workflow!"]},{"l":"Smart Video Splitter","p":["Smart Video Splitter is the perfect app for those who create professional or semi-professional stories with videos on social networks like Instagram, Facebook, Whatsapp and Snapchat."]},{"l":"srt2subtitles","p":["Imagine you are using Final Cut Pro to edit videos and want to add built-in subtitles. You may utilize AI audio transcription tools like Whisper, MacWhisper, Aiko or any online audio transcription platform, you will get SRT files. SRT files in Final Cut Pro cannot be edited for subtitle text style and timing, unlike software such as Premiere Pro, DaVinci Resolve, and Sony Vegas. Final Cut Pro does not provide the capability to edit the style of subtitles within the software. Manually changing the text content and timing of SRT files can be time-consuming. To efficiently batch process AI subtitles and edit their style, such as font, size, position, borders, shadows, etc., the best approach is to make the changes within Final Cut Pro itself. srt2subtitles provides the quickest way to convert SRT files into fcpxml files that can be edited for subtitle style within Final Cut Pro. Simply run the command line and open the fcpxml file in Final Cut Pro."]},{"l":"Subtitles Extractor","p":["Subtitles Extractor allows you to extract subtitles from movies where they are “printed” (i.e. not on a separate track) and export them to SRT format."]},{"l":"Subvert","p":["Subvert expands on Final Cut Pro X's captioning capabilities. It makes editing with captioned footage easy and powerful.","Subvert is a great app to deal with subtitles in FCP. You provide a SRT file and it will create a FCPXML with Captions or Titles. You can precise the Role Name and choose the Text Settings.","When the FCPXML is converted, it can automatically open the FCPXML in FCP, which is very convenient. It will let you choose which library to import the XML into and then it will create a “Subtitles” event.","Something very nice about those Titles: the name of the Titles is matching the content of the Title. So that you can search directly into the index the content of your Titles. And if you want to change what’s written inside the Titles, its name will change accordingly.","It’s also possible to go the other way around. Export a FCPXML of your project with your Titles, and then you’ll be able to convert it into SRT file.","The app is available in the Mac App Store for 19.90USD.","SRT to FCPXML Titles with Role Name:","Automatically open into FCP:","Search Titles into the index by content:","FCPXML to SRT:","I use Subvert. Love it. I remember I prefered Subvert, because when you change the text of the subtitle, it also change the name of the title. So it’s very convenient for searching in the index.","Matthieu Laclau"]},{"l":"Sync-N-Link X","p":["“AutoSync” for Final Cut Pro X: batch sync dual-system sound using jam-synced SMPTE/EBU timecode.","Eliminate the time-consuming chore of manually synchronizing dailies (a.k.a. rushes) by batch processing an Event of unsynchronized clips exported from Final Cut Pro X.","Sync-N-Link X looks for audio whose free-run Timecode matches a video clip’s Timecode (although a matching video and audio clip don’t have to start at the same time, have the same duration, or even have the same frame rate).","Sync-N-Link X uses content created dates to find video and audio that were recorded on the same day for syncing.","Choose whether the synchronized clips are named after the video or audio clips - the original video and audio clip names are available inside the synchronized clips.","Synchronized clips can contain more than one audio clip (for cases where audio recording was stop/started during a take).","Sync-N-Link X adds a \"Synced\" keyword for the video range (essentially trimming the clip to the video duration). Any unused video and audio clips are marked with a \"Not Synced\" keyword.","Sync-N-Link X assigns audio Subroles and component names to second-system audio tracks and camera audio, giving the user dynamic control over audio playback during editorial.","Case study: Electric Entertainment's workflow for \"Leverage\" here."]},{"l":"T"},{"l":"Transcriber","p":["Automatic transcription and subtitles generator.","Transcriber is the ultimate app to transcribe and generate subtitles in sync with the video."]},{"l":"Transfer Toolbox","p":["Transfer Toolbox allows you to convert Final Cut Pro (for Mac) libraries into Final Cut Pro (for iPad) projects!","You can now easily get from your Desktop to your iPad! Simply drag your existing Final Cut Pro library into the application's drop zone.","You should ensure your library only has a single event, and all project timecode starts at 00:00:00:00.","All Motion Content and Media should be contained within the Library.","If you have custom fonts on the Mac Final Cut Pro library, you should manually install them on the iPad before importing the project.","Transfer Toolbox requires Final Cut Pro 10.6.6 or later."]},{"l":"U"},{"i":"ultimedia-converter-2","l":"Ulti.Media Converter 2","p":["The Swiss army knife for transcoding, workflow and multimedia file management."]},{"l":"X"},{"l":"X2Pro","p":["Move your Final Cut Pro X projects to the audio suite simply and quickly. X2Pro Audio Convert takes your FCP X XML and creates an AAF with embedded or referenced audio media which Avid Pro Tools can open as a session, delivering seamless integration between the two applications..","X2Pro Audio Convert is a cutting edge conversion application for delivering FCP X projects for audio finishing, it is easy to use directly from within FCP X.","Taking advantage of the innovative Roles features in FCP X, X2Pro allows you to choose how these are converted to tracks; their order, packing and whether they are included, allowing sound designers to start working immediately.","Media can be embedded in the AAF (and trimmed with handles to minimise file size) to create a single, simple to transfer, file. Alternatively the AAF can reference external media which is ideal when FCP X and ProTools have access to the same shared storage.","Those who do not need the advanced functions of referenced, trimmed media, or close control of the conversion of Roles, can look at the cost effective X2ProLE.","X2Pro faithfully translates your audio timeline along with L-cuts, J-cuts, transitions, levels, automatic gain and fade handles, as well as the incredibly powerful FCP X compound clips. Transitions are converted into linear cross fades. Audio media can be any QuickTime supported audio, non-PCM audio is converted to PCM at either 16 or 24 bit.","R3D media is supported.","Multicam Clips are effectively translated taking across the audio of the selected angle.","X2Pro gives a clear warning when it comes across elements of a sequence which it cannot translate such as time maps and effects.","We recommend rendering an off-line or proxy version of the flattened video and exporting that if a reference is needed within Pro Tools. Only audio media is translated by X2Pro.","Requirements","FCP X, 10.0.4 or later and XML from 1.1","X2Pro is tested on the latest release OS and the previous release","Pro Tools v7.0 or later for AAF import (not LE versions, v7 and v8 require Digitranslator for AAF import)","X2Pro uses Marquis Media Highway technology to integrate FCP X into the established professional audio workflow. Marquis Media Highway is the core technology employed by Marquis’ media integration products – it improves how broadcast production systems interoperate by delivering a seamless and cost-effective integration between leading broadcast content applications. Marquis Broadcast specializes in content workflows and media integration software and has been delivering solutions to broadcast since 1998."]},{"l":"Ximport AE","p":["Ximport AE is a powerful After Effects plug-in that imports XML files from Final Cut Pro. This plug-in offers the most complete workflow for translating a timeline from Final Cut Pro to Adobe After Effects.","Watch the QuickStart video at the right to get an introduction to Ximport AE. It is a very powerful plug-in, and the best way to get to know it is to use it."]},{"l":"Xsend Motion","p":["The missing piece between Final Cut Pro and Motion 5: Xsend Motion from Automatic Duck.","Xsend Motion converts your FCP timeline into a Motion project in just seconds, translating Transforms like Position and Scale, Opacity and blending modes, titles and many third party effects as well.","A new Motion project is created referencing the same media files used by Final Cut Pro, no new media is created. You can easily adjust your footage in Motion, everything is live and not baked-in.","Uploaded by Automatic Duck on 2017-12-05. You can send an entire project from FCP to Motion, or you can export the contents of a compound clip to XML and translate that into Motion. Your Motion work can be exported back to FCP as a QuickTime movie or published as a Generator. Any time you have a clip or set of clips in FCPX that want to use in Motion, Xsend Motion is the tool you need to send those projects across.","Xsend Motion integrates with the Final Cut Pro Share menu as well as with XML exports from FCP 10.2.1 and later, including Final Cut Pro X 10.6."]},{"l":"XtoCC","p":["The all-in-one tool to move a Final Cut Pro X Event or Project to Premiere Pro, After Effects, Audition, FCP 7 and beyond!","This app translates Final Cut Pro X Library XML (fcpxml) and converts it for import into Adobe's Creative Cloud apps, Premiere Pro CS6, Final Cut Pro 6 or 7, or other applications.","Your Final Cut Pro XML is ready for:","Premiere Pro, and then to:","AAF to Avid Media Composer and Pro Tools","OMF output for ProTools, etc.","EDL","After Effects","Audition","Final Cut Pro 7","other Final Cut Pro 7 XML workflow tools","Check the XtoCC Support document for instructions, including listings of what translates and what doesn't.","Requirements:","Final Cut Pro version 10.0.1 or later","An application that imports Final Cut Pro XML (such as Final Cut Pro 7 or 6, Premiere Pro CC, After Effects CC, Audition CC, DaVinci Resolve, Color, etc.)"]},{"l":"Discuss this page"}],[{"l":"Workflow Extensions","p":["This page contains a collection of the latest Final Cut Pro Workflow Extensions.","You can use extensions to access features of third-party apps from within Final Cut Pro. For example, you can access stock footage, media management, and review-and-approve apps without ever leaving Final Cut Pro.","Want to contribute or add your Workflow Extension? Learn more here!"]},{"l":"A"},{"i":"alteonio-for-final-cut-pro","l":"Alteon.io for Final Cut Pro","p":["Designed for content creators, Alteon lets you upload, transcode, share and collaborate on media from a single, universal space.","Collaborate remotely with secure screener links and automatic proxies","Stop shipping drives between collaborators and clients","Scale your cloud storage, so you spend less on archived assets","Consolidate single-purpose apps into a streamlined workflow","This app contains Alteon’s workflow extension for Final Cut Pro, helping creatives complete an end-to-end workflow—downloading files, syncing with remote collaborators and uploading media—all within Apple’s flagship NLE.","Users can launch the workflow extension within Final Cut Pro to view media files housed in Alteon’s secure cloud storage platform. From there, they can download media files directly from Alteon into Final Cut Pro to start editing immediately. Users can upload entire libraries of media or individual clips by dragging and dropping them right from Final Cut Pro into the Alteon panel."]},{"l":"B"},{"l":"BRAW Toolbox","p":["BRAW Toolbox allows you to import Blackmagic RAW files directly into Final Cut Pro without transcoding.","No more waiting. No more transcoding. No more massive ProRes files.","Save hours of time, and terabytes of storage!","The BRAW Toolbox Workflow Extension allows you to prepare all of your footage prior to import. You can easily and quickly change all the RAW parameters, and copy and paste settings from different BRAW clips. You can even save and restore Presets that contain specific parameters, saving time for example, if you always use the same Gamut & Gamma.","Once imported into Final Cut Pro, you can still modify the RAW parameters at any time.","You can even keyframe the ISO, Exposure, Color Temp, Tint and Custom Gamma Controls!","BRAW Toolbox comes with a Metadata View that allows you to view every piece of BRAW Metadata directly within the Final Cut Pro Inspector.","There are automatic Decode Quality options for both HD and UltraHD projects, and you can also work at a low Decode Quality, then apply a \"Global Setting\" to force Full Quality prior to exporting - meaning you never have to worry about creating proxies for performance. BRAW Toolbox gives you complete freedom and flexibility.","You can also use the Workflow Extension to send your project/timeline to DaVinci Resolve for grading - all using BRAW files directly from the camera!","BRAW Toolbox requires Final Cut Pro 10.6.5 or later."]},{"l":"User Reviews","p":["This developer did what Apple Couldn't/Wouldn't This app is a great solution to a common problem Final Cut Pro users have: getting Blackmagic Raw footage into the app. At first it might seem like a bizarre workaround, but you only have to go through the process of setting it up once, and then you can easily import your Blackmagic footage right into FCP. Honestly, from that point on it works so incredibly well that I really struggle to understand why Apple has made it so difficult. Except it's not difficult, not anymore. This is great software: a small developer solving a problem that a big one (Apple) can't. That's innovation, my friends.","moosefuel – Feb 3, 2023 (Apple App Store Review)","The tool we have dreamed of is here. For lovers of Final Cut Pro who have struggled with the endless BRAW proxy XML loop, this is a dream come true. BRAW natively inside Final Cut. Controls for RAW adjustments at your fingertips. Is it the full Resolve interface? No, doesnt need to be, Between BRAW ToolBox and FCP, most edits can be done natively without ever having the leave the Final Cut NLE. If you shoot any BRAW camera, this is the best of both worlds if you live in the FCP ecosystem. Thank you latenightfilms team for this, its a huge step forward and a wonderful plugin.","Chasing Photography – May 16, 2023 (Apple App Store Review)","Perfect! Just perfect.","Viaswage – Feb 18, 2023 (Apple App Store Review)","Great! Love this! thank you!","NarimanGafurov – Feb 6, 2023 (Apple App Store Review)","UMMMMMM THANK YOU, YOU'RE A GENIUS I've needed this for years!!!!!! You are a genius and this is incredible!!! Thank you so much!!! No clue how BM never made this.","gordonfromvan – Feb 4, 2023 (Apple App Store Review)","I've been waiting for this! I can finally use my two Blackmagic cameras and shoot in BRAW. As a Final Cut Pro editor, I'm really excited. The app is working great! I really appreciate the team at LateNite for all the hard work it took to get this up and running. Well worth the money to be able to handle BRAW seamlessly. Scott_Hartman – Feb 2, 2023 (Apple App Store Review)","Boom! Such an amazing plugin and works fantastic! Grant Digital Sky – Feb 2, 2023 (Apple App Store Review)","Absolutely Amazing. Solves a massive problem and works beautifully! Jmurphy8503 – Jan 31, 2023 (Apple App Store Review)","The impossible made possible. Amazing to work natively with BRAW in my favourite editor. Thank you! MadMitch1993 – Jan 30, 2023 (Apple App Store Review)"]},{"l":"D"},{"l":"DAWBridge","p":["DAWBridge is an extension for Final Cut Pro that syncs Logic Pro, Pro Tools and other DAWs to Final Cut Pro. Using the DAW Bridge, cleaning up audio, composing music and mixing become virtually effortless and you never need to leave your favorite video editing software. When you sync your DAW with Final Cut Pro, audio will only play from your DAW so if you'd like your original FCP timeline audio to play as well, export your audio to your DAW using the share menu.","There are a few simple steps to linking Final Cut Pro with your DAW:","First, open the DAW Bridge extension in Final Cut Pro","Make sure your timecode settings are the same in both applications:","Project start timecode must match. For example, 01:00:00:00.","Frame rates must match for the timecode to work correctly. Hint: you can drag your Final Cut Pro project into the DAW Bridge window to pull its frame rate.","Match sample rates in your DAW and Final Cut Pro","In your DAW, navigate to the MTC settings and select 'DAW Bridge In'.","In Logic Pro you can find this in the transport or in Synchronization preferences.","In Pro Tools it is under Peripherals → Synchronization","Once your timelines are in sync, your DAW's playhead can control Final Cut Pro's playhead. The DAW Bridge combines the power of your audio and video editors. Imagine what you can do."]},{"l":"F"},{"l":"fontAudition-X","p":["A new way to look at fonts! See your text displayed in all your font styles size-by-side. Choose a favorite and then drag & drop your text directly onto the FCP timeline.","Editors have hundreds, even thousands of fonts on their computers. FontAudition makes viewing and managing them easier. And it runs right inside Final Cut Pro.","Enter your text into fontAudition and instantly see it displayed in every font available on your computer. No other font utility gives you such a complete view of your font options or makes it so easy to pick just the right one for your text.","See the Big Picture of your text displayed in all your computer's font styles in a unique side-by-side display","Search for installed fonts by name, family, or description, such as bold, italic, and condensed","Quickly sort your favorite fonts into an unlimited number of collections to help keep them organized and ready to use","Add or delete fonts to your collections at any time to keep them up-to-date","Easy access to every font’s extended characters such as accents and flourishes","Simply double-click any font to display it’s extended character set and then copy and paste them into your title","FontAudition is written as a Final Cut Pro Workflow Extension which allows it to run inside of Final Cut Pro while you are editing","Drag & drop your text from fontAudtion directly onto the Final Cut Pro timeline or copy & paste it into the FCP viewer","Runs natively on both Intel and Apple Silicon Macs"]},{"i":"frameio","l":"Frame.io","p":["Introducing the Frame.io workflow extension and Mac menu bar app. A whole new way to create video with your team in Final Cut Pro X, and a faster way to upload, share, and transfer media projects anywhere in the world.","Frame.io is the world’s most popular video review and collaboration platform, used by over 550,000 filmmakers and media pros.","Frame.io in Final Cut Pro X:","Easily share your timeline or individual clips with your team.","Your edits stay organized with automatic version stacking.","See the instant your client is reviewing your work—to take action while feedback is still fresh.","Get real-time, frame-accurate comments, right in your edit.","Your comment markers stay with clips―no matter where you move them.","Pull media and comments from Frame.io right into your timeline.","Menu bar app:","Watch folders save you valuable time and allow you to render and upload overnight.","Local folder structure is preserved when uploading.","Review Page links can be quickly copied from the Recent Uploads tab.","Render directly from any of your preferred editing tools."]},{"l":"G"},{"l":"Gyroflow Toolbox","p":["Gyroflow Toolbox allows you to import Gyroflow Projects into Final Cut Pro.","Gyroflow is a free and open source third-party application that can stabilise your video by using motion data from a gyroscope and optionally an accelerometer. Modern cameras record that data internally (GoPro, Sony, Insta360 etc), and Gyroflow stabilizes the captured footage precisely by using them. It can also use gyro data from an external source (eg. from Betaflight blackbox).","Gyroflow Toolbox allows you to take the stabilised data from Gyroflow and use it within Final Cut Pro as an effect, so you don't have to export a ProRes from Gyroflow!","You can even use this in conjunction with BRAW Toolbox (also on the App Store), to stabilise Blackmagic RAW files!","None of this would be possible without the incredible Gyroflow project and the incredibly help and support from their main developer, AdrianEddy."]},{"i":"user-reviews-1","l":"User Reviews","p":["Nice product! Thank you Chris!","NarimanGafurov – Feb 6, 2023 (Apple App Store Review)","The Best Way to Stabilize Pro Res RAW I record both internally and externally with an Atomos Ninja, on my FX3 with the end goal of delivering HDR. I record internal to capture Gyroscopic data that my FX3 records. This allows me to Use GryoFlow, and Thus GryoFlow Toolbox to stabilize Pro Res RAW footage. This tool has made it possible, and works awesomely. I highly recommend this tool it will help immensely.","Tydar94 – Jan 27, 2023 (Apple App Store Review)"]},{"l":"M"},{"l":"Marker Toolbox","p":["Marker Toolbox allows you to import Vimeo CSV, Wipster CSV, Dropbox Replay JSON & Email Comments into Apple's Final Cut Pro via a handy Workflow Extension.","You can also OPTIONALLY use OpenAI's ChatGPT to help translate email comments into markers using your own personal OpenAI API key!","If you use Vimeo Review pages or Wipster to share video edits with clients to consolidate feedback, you can simply export a CSV file from Vimeo or Wipster, and drag it into the Workflow Extension to convert the comments into Markers within Final Cut Pro. It's fast and easy!","Dropbox Replay works exactly the same way, except Marker Toolbox will also import any drawn annotations!","Similar to Frame.io's Workflow Extension, the markers come in as a Compound Clip, that you can then \"break apart\" so that the markers are attached to the clips in your Primary Storyline, meaning that your clients comments stay in the correct position as you make revisions to the edit. For each marker, there's also a title, so that you can easily visually see the comments right in your Viewer - this is great if you need to export an edit with all your client feedback \"burnt\" into the export.","Replies and the date the comment was added can be included in the Marker names. It also takes \"resolved\" comments in Vimeo, Wipster & Dropbox Replay, and marks them as \"completed\" in Final Cut Pro!","You can also easily copy and paste client feedback from emails into the Workflow Extension. In most cases, you can use the \"Process Comments Locally\" button to use a custom-built algorithm that converts each line of text into a comment. However, you can also the power of OpenAI's ChatGPT to help translate more complicated feedback into markers. You can customise the ChatGPT prompt, and also pick the ChatGPT Model. You supply your own OpenAI API key, giving you full control.","This can be a MASSIVE time saver, as you can simply copy and paste a long list of email comments, and ChatGPT will do the work to convert them into easy-to-read Final Cut Pro markers, that you can then easily navigate via the Timeline Index.","Marker Toolbox requires Final Cut Pro 10.6.5 or later."]},{"i":"user-reviews-2","l":"User Reviews","p":["I’ve been absolutely flatout while working in Thailand. Wipsters has been been great, helping me manage projects and reviewers across four countries. Stoked Marker Toolbox can send Wipster notes straight into #fcpx","Alister Robbie via Twitter","Excellent addition to FCP This is a great tool. I have my clients make notes on Vimeo, and Marker Toolbox lets me download a .csv of those comments and create markers on the FCP project/timeline at the proper locations, with notes visible and that will follow the clips as I move them. Once downloaded and installed it's easy. Downloading the .csv and running it through Marker Toolbox and adding the Markers to the project/timeline takes less than a minute, then you're ready to go. Really great find!","Robert heinlein's son – May 31, 2023 (Apple App Store Review)","Amazing simple I wanted an app like this since I started editing. Now for the first time I can process the comments I get via an e-mail on an edit from the start and not, as I usualy do, begin at the end of the edit and work backwards.","Blazy – Apr 6, 2023 (Apple App Store Review)"]},{"l":"Media Sync Tool","p":["Media Sync Tool is a revolutionary sync tool for Final Cut Pro.","By utilizing jam-synced SMPTE timecode and metadata from the source media, it automates the sync process to the point where almost no human involvement is required, while automatically dealing with overlapped timecode.","Now all Final Cut Pro video editors can fully eliminate the time-consuming routine of manually syncing dailies by using Media Sync Tool in a bundle with Final Cut Pro."]},{"l":"R"},{"i":"reading-is-fundamental","l":"Reading Is Fundamental!","p":["Comma-separated values (.csv)","Excel (.xls and .xlsx)","Keynote","Most document types allow you to zoom in and out by using your trackpad’s “pinch with two fingers” — if you’ve enabled this in System Preferences > Trackpad. (Not supported by Rich Text Format or Plain Text files.)","Multiple documents can be opened at the same time, and you can switch between them (using navigation arrow buttons or the popup menu).","Numbers","Pages","PDF","Plain text (.txt)","PowerPoint (.ppt and .pptx)","Reading is Fundamental! is a versatile, multi-format document reader in a Workflow Extension so you can read documents without leaving Final Cut Pro.","Reading is Fundamental! reads and displays:","Rich Text Format (.rtf and .rtfd)","The previously opened documents will be restored on relaunch.","The workflow extension window can be repositioned, resized, and saved as part of a Final Cut Pro workspace layout.","The workflow extension window floats above Final Cut Pro so you can view your document and project timeline at the same time.","Word (.doc and .docx)"]},{"l":"Recall Toolbox","p":["Recall Toolbox is a Final Cut Pro Workflow Extension that acts as a Shared Pasteboard.","Anything that you can copy and paste in Final Cut Pro, Recall Toolbox can store."]},{"l":"Build for Final Cut Pro","p":["There are third party tools like the amazing Copy 'Em ​(for Mac), but they're not quite as visual as Recall Toolbox, and they're not built from the ground up for Final Cut Pro users.","Recall Toolbox works as a Final Cut Pro Workflow Extension, so it's window position gets saved with your custom Workspaces.","Whilst CommandPost has had a Shared Pasteboard & Pasteboard Buffers for years, it's really optimised for Control Surfaces. You can access the Shared Pasteboard from the CommandPost menubar, and it is super powerful, but it's not as visual - you just get text, not a fully customisable thumbnail.","Recall Toolbox feels like a natural extension to Final Cut Pro, with a similar look and feel to Final Cut Pro's Effects Browser."]},{"l":"iCloud Sync","p":["Recall Toolbox automatically syncs to ALL your devices on the same iCloud account automagically!"]},{"l":"iCloud Sharing","p":["You can share folders with other iCloud users, and control permissions. For example, you could have a \"read only\" folder that contains client logos for a current job!"]},{"l":"S"},{"l":"Shutterstock for Final Cut Pro","p":["The official workflow extension for Final Cut Pro puts Shutterstock’s entire collection of creative assets at your fingertips. Find your perfect royalty-free video clips, then drag them directly into your Final Cut Pro project. Discover a cinematic soundtrack and millions of beautiful images. You can easily preview content right in the extension and see how it works in your project, then license the assets you want without ever leaving Final Cut Pro.","Download now to start creating incredible content.","Features:","Find and license Shutterstock video clips, music, and images from directly within Final Cut Pro.","Easily import stock assets into your Final Cut Pro library.","Get exclusive access to a collection of free videos, music tracks, and images.","Preview watermarked assets in your project before committing to purchase.","Explore curated themed collections like nature, cities, and more.","Save and store all your favorite stock assets in one place."]},{"l":"Simon Says Transcription","p":["collaborate with teams and clients","Drag in your audio, video, and FCPX event","Export back to your video editing application (like FCPX, Premiere, Avid) or to Word.","export to Word, subtitles, Adobe, Avid, FCPX, DaVinci Resolve","frame-accurate transcription and translation","import of audio / video files","import of FCPX events with projects and clips and export captions, titles, and ranges","In minutes, for pennies, in 100 languages.","It is easy:","It supports:","New users get free credit to trial.","Not anymore.","Pay (new users get 15 mins for free) & Transcribe","Simon Says is the accurate AI tool: swiftly transcribe, subtitle, caption, and translate your audio and video.","subtitle translations for international versioning","This application operates standalone as a macOS app and as an extension built for Final Cut Pro X.","Transcription and translation used to be frustrating.","transcription/translation languages: English, Spanish, French, German, Italian, Danish, Dutch, Finnish, Greek, Japanese, Portuguese, Russian, Swedish, and dozens more","world-class transcript editor and visual subtitle editor","Your transcript is ready! Bookmark, annotate, edit, and collaborate with teammates. Even preview subtitle formatting in the visual subtitle editor."]},{"l":"Discuss this page"}],[{"l":"Podcasts","p":["Final Cut Pro Radio has the best Final Cut Pro Professionals from around the Globe.","Richard Taylor also does a FINAL CUT TV & Coffee live streaming series on YouTube.","Want to contribute or add your podcast? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Social Media","p":["This page is dedicated to Final Cut Pro communities on Social Media."]},{"l":"Facebook","p":["The Final Cut Pro Users Facebook Group has 62.8K members.","The Final Cut Pro for iPad Facebook Group has 191 members."]},{"i":"postchatio","l":"postchat.io","p":["A place for all postproduction professionals, enthusiasts and anyone who wants to be part of Mastodon.","Run by the amazing Felipe Baez."]},{"l":"Creators","p":["Brad West- Video Editing Tips","Dylan Bates, The Final Cut Bro- Motion & Final Cut Tutorials, Effect Developer","Dylan John- Social Media Video","Emilio Takas- Tech & Editing","FxFactory- Products & Tips","Jared Ewing- Everything Training","Jenn Jager- Video Production, Motion & FCP Tutorials","Joseph Slinker- Apps & Tools that Compliment","Matthew O'Brien- Tips & Tricks, Lifestreams, Editing Philosophy","Rafael Ludwig- Tech Reviews, Tutorials, Thoughtpieces","Ryan Nangle- Tutorials & Video Effects","Serge M- Editing Videos","Simon Ubsdell- Motion graphics and visual effects tutorials and demos","Tyler Stalman- Creative Tools for Video Production","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Control Surfaces","p":["This page is dedicated to Control Surfaces in Final Cut Pro.","We will be adding reviews and information here in the future.","Want to contribute or add your hardware? Learn more here!"]},{"l":"CommandPost","p":["AudioSwift","Chris is also currently actively working on support for:","CommandPost currently supports:","DaVinci Resolve Editor Keyboard","DaVinci Resolve Speed Editor","duckyPad","In the future, he plans to add support for:","It also supports:","Logitech Craft Keyboard","Loupedeck (Original)","Loupedeck CT","Loupedeck Live- Direct & via Loupedeck Plugin","Loupedeck Live-S- Direct & via Loupedeck Plugin","Loupedeck+","MacBook Pro Touch Bar Support (including a Virtual Touch Bar)","MIDI Devices (including TouchOSC, etc.)","Monogram/Palette","Nob","Razer Nostromo","Razer Orbweaver","Razer Orbweaver Chroma","Razer Stream Controller- Direct & via Loupedeck Plugin","Razer Tartarus","Razer Tartarus Chroma","Razer Tartarus Pro","Razer Tartarus V2","Stream Deck","Stream Deck Mini","Stream Deck Pedal","Stream Deck Plus","Stream Deck XL","Tangent Panels(including Tangent's iPad & Android App)","TourBox (Original)","TourBox Elite","TourBox NEO","Work Louder Creator Board","Work Louder Creator Micro","Xbox & PlayStation Wireless Game Controllers","Xencelabs Quick Keys"]},{"l":"Discuss this page"}],[{"l":"Monitors","p":["This page is dedicated to monitors for Mac's.","We will be adding reviews and information here in the future."]},{"l":"LG UltraFine 5K Display","p":["This is what we use as our main GUI monitor for all machines at LateNite and they work great.","Want to contribute or add your hardware? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Storage","p":["This page is dedicated to storage for Mac's.","We will be adding reviews and information here in the future."]},{"l":"iodyne Pro Data","p":["The incredible Pro Data builds on Thunderbolt’s breathtaking speed and daisy-chain expandability, and takes its amazing capabilities to new heights. With a staggering eight full-speed ports, there’s no need to sacrifice peripherals: just connect your displays and other downstream devices to Pro Data, and boost your productivity without losing a single port.","Thunderbolt connectivity ensures Pro Data works with every computer and every app you have today, or might buy in the future. Pro Data is the fastest Thunderbolt storage for M1 Macs, and the fastest Thunderbolt RAID array. Use it to redesign your next setup, or supercharge your existing one."]},{"l":"OWC LumaForge","p":["OWC Jellyfish workflow servers are a family of highly-specialized network attached storage devices that are specifically designed for editors and post-production teams looking to streamline workflow and maximize output.","It's been called, \"A giant hard drive your whole team can use.\" However you describe it, the OWC Jellyfish has become the gold standard for seamless collaboration among creatives."]},{"l":"OWC ThunderBay Flex 8","p":["Whether you call it a workflow workhorse, a productivity platform, or a configurable command center, one description of the ThunderBay Flex 8 says it best. It’s a groundbreaking workflow solution for digital imaging, VFX, video production, and video editing professionals from the world’s leading Thunderbolt accessory manufacturer.","ThunderBay Flex 8 offers eight drive bays that support a mix of SATA/SAS and U.2/M.2 NVMe drives for up to 172TB of storage capacity. Next, there’s a plethora of ports including two Thunderbolt 3, one USB-C, and two USB-A for device docking and charging.","See your work in greater detail by adding up to an 8K display via a built-in DisplayPort 1.4 connection. Ingest hi-res images and video via front-side SD 4.0 and CFexpress card readers. And when you want to expand your desktop capabilities, there’s a PCIe slot waiting for your specific project needs.","ThunderBay Flex 8 is the one Thunderbolt 3 desktop device that rules them all. With an irresistible economy of scale, this consolidated solution is ideal for anyone waiting for the right moment to invest in Thunderbolt technology."]},{"l":"PROMISE Pegasus3 Series","p":["Pegasus3 Series with Thunderbolt™ 3 technology delivers incredible speed and performance for HD and 4K video editing, creative workflow with ease of use and performance optimization.","Want to contribute or add your hardware? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Motion Variables","p":["-","@#$sourceObject_metadata_alphaHandling","@#$sourceObject_metadata_angle","@#$sourceObject_metadata_audioChannelCount","@#$sourceObject_metadata_audioSampleRate","@#$sourceObject_metadata_contentCreated","@#$sourceObject_metadata_displayFormat","@#$sourceObject_metadata_displayName","@#$sourceObject_metadata_effects","@#$sourceObject_metadata_frameDuration","@#$sourceObject_metadata_frameSize","@#$sourceObject_metadata_metadataAudioRoles","@#$sourceObject_metadata_metadataDeinterlaceType","@#$sourceObject_metadata_metadataFieldDominanceOverride","@#$sourceObject_metadata_metadataImportToApp","@#$sourceObject_metadata_metadataLocation","@#$sourceObject_metadata_metadataMediaDuration","@#$sourceObject_metadata_metadataMediaEnd","@#$sourceObject_metadata_metadataMediaStart","@#$sourceObject_metadata_metadataRoles","@#$sourceObject_metaData_metadataRotationAngle","@#$sourceObject_metadata_metadataSelectionDuration","@#$sourceObject_metadata_metadataSelectionEnd","@#$sourceObject_metadata_metadataSelectionStart","@#$sourceObject_metadata_metadataVideoRoles","@#$sourceObject_metadata_notes","@#$sourceObject_metadata_reel","@#$sourceObject_metadata_scene","@#$sourceObject_metadata_shot","@#$sourceObject_metadata_timeRange","@#$sourceObject_objectName","@#$sourceObject_projectOrSourceName","@#$sourceObject_sampleDuration","@#$sourceObject_sequenceName","@#$sourceObject_sourceName","@#$sourceObject_timecodeFrameDuration","Alpha Handling","Angle","Audio Channel Count","Audio Roles Metadata","Audio Sample Rate","Content Created","De-interlace Type","Description","Display Format","Display Name","Effects","Field Dominance Override","Frame Duration","Frame Size","Import to App","Location","Media Duration","Media End","Media Start","Metadata Roles","Notes","Object Name","On this page is a list of tokens you can use in Apple Motion to display metadata in Motion Templates, that will also appear in Final Cut Pro.","Project or Source Name","Rotation Angle","Sample Duration","Scene","Selection Duration","Selection End","Selection Start","Sequence Name","Shot","Source Name","Source Reel Name","Special thanks to F•X Mahoney from FCPxTemplates.com for his help correcting this page!","The below table contains all the tokens in the order they're shown in the above screenshot:","The output of the effect looks like this in Final Cut Pro 10.6.6 (created in Motion 5.6.4):","This was originally discovered on this blog.","Time Range","Timecode Frame Duration","Token","Video Roles","Want to update any of the above? Learn more here!","You can also download an example Motion Template effect here."]},{"l":"Discuss this page"}],[{"l":"Application Bundle","p":["This document is a random collection of notes, thoughts and comments as we start to research the \"inside workings\" of Apple's Final Cut Pro package.","It's interesting to note that most of the Frameworks contained within Final Cut Pro X can also be found in Apple Motion, iMovie on iOS, iMovie on macOS and Clips on iOS.","The content on this page is quite out-dated, and doesn't take into account Final Cut Pro 10.6.6 or Final Cut Pro for iPad. It will be updated over the coming months.","Want to contribute? Learn more here!"]},{"i":"what-is-a-framework","l":"What is a Framework?","p":["A framework is a bundle (a structured directory) that contains a dynamic shared library along with associated resources, such as .nib files, image files, and header files. When you develop an application, your project links to one or more frameworks. For example, iPhone application projects link by default to the Foundation, UIKit, and Core Graphics frameworks. Your code accesses the capabilities of a framework through the application programming interface (API), which is published by the framework through its header files. Because the library is dynamically shared, multiple applications can access the framework code and resources simultaneously. The system loads the code and resources of a framework into memory, as needed, and shares the one copy of a resource among all applications."]},{"l":"History Lesson","p":["Phil Pan writes on Alex4D's Facebook Page:","I worked on that team for five years. There wasn't much work done on merging Shake and FCP. Most of the advanced work done by the core Shake team focused on the Helium renderer, which today is core to Pro Apps today. Shake's genius was how it was ultra-efficient as CPU-only code. Management had little interest in Shake and most resources went to Motion and Aperture; projects that Steve could related to when he wasn't completely absorbed by the iPad, the iPhone and the iTunes business ecosystem. The author of this patent, Christophe Souchard, is a French mathematician who had tons of prior experience at Discreet/Autodesk. He joined Apple when it purchased his Senso technology, which was the first Intel-based library to do advanced image scaling and frame-rate conversion using motion vector estimation. While at Apple, Christophe's skills impressed management enough that his position was labelled \"Applied Magic\", and a veteran aerospace software engineer was hired to perform curation and clerical code management for his inventions. He introduced the team to methods using partial differential equations and while exteremely slow to compute, his next-generation prototypes performed jaw-dropping feats 15 years before similar tools would be introduced by Adobe. None of this work ever came out because Apple had a policy not to release compute-intensive software. Randy Ubillos (father of FCP and close to Steve) wouldn't accept any operation that took longer than a second per frame to render. This relegated Christophe to a research position for a while, until Randy got so impressed that he monopolized Christophe to work on advanced concepts for FCPX. Randy had some clever ideas about shot alignment and automatic editing, and this patent is the result of one of their collaborative projects. Today Christophe works at Unity Technologies doing advanced AR work, and he consults on the side when he has the time. He's recently rumored to have authored the rendering engine for ColorSynth, a complex colour grading plugin for FCPX and Premiere.","Helium was done in Santa Monica by the mad frenchmen team at Apple; Arnaud Hervas, Emmanuel Mogenet and Chrisophe Souchard. Arnaud was the co-founder of Nothing Real, the company that produced Shake. The idea was to do automatic tiled rendering using all available compute resources, so CPU cores and GPU(s). It was a lot trickier than people would think, as math functions would be rounded differently on different resources, and this would affect pixel values. The renderer has to evaluate the render graph to intelligently tile the proper regions-of-interest; i.e. it has to know the size of convolution kernels and all parts of a shader to produce tiles that will later merge properly, and it has to do all of this in real-time. Beautiful work. Emmanuel is now an executive at Google Research in Switzerland. Arnaud is growing tomatoes in Culver City, when he's not working on camera alignement software. Apple could have done a lot more in the high end, but in the last days of Steve, the company shifted its focus on the mass market and mobile devices. It was the right thing to do for all the reasons we know today (the Bottom Line being the most evident), but in so doing it hurt engineering effors in high-end imaging across the world; Adobe was going through a bad patch and the Discreet team at Autodesk was in disarray. The high-end was picked up by The Foundry: Its founder, Bruno Nicoletti (a Discreet alumnus) had the clever idea to acquire Nuke from Digital Domain and he had the skills and industry knowledge to turn it into the work-horse that it's become today. Still, Nuke is a geek's tool and there could have been an opportunity for a more artist-oriented solution in the high-end. This would not be one of Apple's pursuits: After a couple of years of soul-searching it became clear in 2007 that the future of Apple would be the iPhone and that all the Pro Apps stuff was no longer interesting. It survived nonetheless and I'd say that today the spirit of high(ish) end imaging is coming back to Apple. But so is the case at Adobe. In the end, the consumer wins and it's an exciting time to be buying graphics solutions."]},{"l":"Plugins","p":["Internally, Final Cut Pro supports and contains a number of different plugin types and formats:"]},{"l":"Compressor","p":["Contains CompressorKit.bundle- which can also be found in Compressor and Motion - it's basically the Compressor engine."]},{"l":"FCP-DAL","p":["Contains ACD.plugin- a CoreMediaIO plugin that enables the \"A/V Output\" feature in Final Cut Pro.","The CoreMediaIO Device Abstraction Layer (DAL) is analogous to CoreAudio’s Hardware Abstraction Layer (HAL). Just as the HAL deals with audio streams from audio hardware, the DAL handles video (and muxed) streams from video devices.","You can download sample DAL code here."]},{"l":"FxPlug","p":["The FxPlug SDK is a compact yet powerful image processing plug-in architecture that lets you create new effects for Final Cut Pro and Motion.","This folder contains two plugins:","FiltersLegacyPath.bundle- I believe this contains older Filters (such as the Primatte keyer) still used by Motion & Final Cut Pro.","PAECIAdaptor.fxplug- I have no idea what a PAECI is, or what this FxPlug does."]},{"i":"internalfiltersxpcpluginkit","l":"InternalFiltersXPC.pluginkit","p":["Internal filters used by Final Cut Pro & Motion."]},{"l":"MediaProviders","p":["MotionEffect.fxp- Contains Motion Particle Images, Materials and Text Styles."]},{"l":"RADPlugins","p":["Plugins for 3rd Party codecs:","Archive.RADPlug","AVCHD.RADPlug","MPEG2.RADPlug","MPEG4.RADPlug","P2.RADPlug","P2AVF.RADPlug","XDCAM.RADPlug","XDCAMFormat.RADPlug"]},{"l":"Frameworks"},{"l":"Bloodhound","p":["I'm not exactly sure what this is but I'm ASSUMING it has something to do with the more complex side of Apple Motion (possibly rendering?) - due to the following string found in the executable:","PROGRAM:Bloodhound PROJECT:Motion-29551.8.52","I don't think this is much help to CommandPost."]},{"l":"CoreMedia","p":["Represent time-based audio-visual assets with essential data types."]},{"l":"CoreMediaIO","p":["The CoreMediaIO Device Abstraction Layer (DAL) is analogous to CoreAudio’s Hardware Abstraction Layer (HAL). Just as the HAL deals with audio streams from audio hardware, the DAL handles video (and muxed) streams from video devices."]},{"l":"Flexo","p":["This seems to be one of the most important frameworks for iMovie & Final Cut Pro.","It contains:","All the default .audio.effectBundle and .effectBundle files.","The FCPX Document Type Definition's (version 1.0 to 1.6)","Compressor settings for FCPX Bundles, Library XMLs and Project XMLs","72 Fonts used internally by Final Cut Pro & iMovie","3D Luts ( VLog_to_V709_forV35_ver100.3dlut& VLog_to_V2020_forV35_20160707.3dlut)","Files for Trailers, Themes, Titles and Maps","Metadata Definitions ( DPPEditorialServices, DPPMedia& MXFMetadata)","Color Presets (in the .cboard format)","Nib files for a huge range of different Final Cut Pro & iMovie Windows & Modules.","FFLocalizable.strings which contains a huge range of different UI strings for both iMovie and Final Cut Pro","ProMSRendererTool seems to be both a video and audio rendering engine based on the ProMSRendererLocalizable.strings file.","It also contains the following Frameworks:"]},{"l":"DeepSkyLite","p":["This framework seems to be the Core Data interface for Final Cut Pro. It contains the Compiled Core Data Models."]},{"l":"FaceCoreEmbedded","p":["FaceCore is Apple's Face Recognition framework, which was acquired from Polar Rose."]},{"i":"fxplug-1","l":"FxPlug","p":["The FxPlug SDK is a compact yet powerful image processing plug-in architecture that lets you create new effects for Final Cut Pro and Motion."]},{"l":"Helium","p":["Helium looks like it's the video processing engine for Final Cut Pro, and other ProApps (i.e. there's references to Shake in some of the frameworks).","It looks like it's using OpenGL's ARB Vertex Programming language?","It contains two \"Plug-ins\":","HCache","HConverter","It contains several internal Frameworks:"]},{"l":"HeliumFilters","p":["Looks like it contains a bunch of OpenGL Shaders. Assuming it's a bunch of filters for Helium?"]},{"l":"HeliumRender","p":["Looks like it contains a bunch of OpenGL Shaders. Assuming it's the \"render\" engine for Helium?"]},{"l":"HeliumSenso","p":["Senso looks like the Optical Flow engine (possibly the same that originally came from Shake?)."]},{"l":"HeliumSensoCore","p":["Looks like more Optical Flow OpenGL functions."]},{"l":"HeliumSensoCore2","p":["More Optical Flow code - but this looks less like OpenGL functions, and more like some kind of \"interface\""]},{"l":"Lithium","p":["Looks like another Framework for doing processing on the GPU using the OpenGL Shading Language. It has references to Metal as well. I'm ASSUMING that this the main Shader code.","Has two .glsl files inside:","shadow.glsl","ShadowBlurFragShader.glsl"]},{"l":"LunaKit","p":["AppThemeBits.car: contains LOTS of PSDs of UI elements.","AppThemeBitsB.car: looks like a duplicate of AppThemeBits.car, but maybe at higher resolution (Retina version?)","Assets.car: looks like it contains all of the mouse cursors.","Commands.strings: A binary plist of Command Editor strings.","It also contains a Perl script called viddiagnose.pl. I'm ASSUMING this is a script that creates Diagnostic reports for Apple to help debug FCPX?","It contains a bunch of .car(CoreUI Archives) files, which can be extracted using Asset Catalog Tinkerer:","It contains a bunch of other interesting plain-text plist files:","It contains a human-readible plist file called Container.moduleLayout.","LKColor.plist: Colour settings for a huge range of different UI elements (for things like HUDs, etc.)","LKCursor.plist: Hotspot Locations for various mouse cursors.","LKLocalizable.strings: Binary plist which contains a few basic strings for when you trash Final Cut Pro's preferences, and copyright messages.","LunaKit.strings: Binary plist containing a list of colours (probably for the Command Editor).","ModuleKit.strings: Binary plist containing text for Window Layouts.","NOX.car: UI Elements such as Checkboxes, Buttons, Steppers, Text Fields, etc.","NOXConsumer.car: Assuming it's the same as NOX.car, except for iMovie?","NOXHud_MOTION.car: Assuming it's all the UI graphics for the HUD in Motion?","NOXHud.car: UI graphics for Final Cut Pro's HUD?","NOXInspector.car:- UI graphics for Final Cut Pro's Inspector?","NOXRevealed.car: Not sure what these graphics are? Segmented Control?","NOXToken.car: This bundle looks empty?","NOXToolbar.car: Looks like it just has two loading animations?","NOXViewer.car UI graphics for Final Cut Pro's Viewer?","NSProCommandDescriptions.strings: Binary plist containing a single key ( ChangeWindowLayout).","NSProCommandNames.strings: Binary plist containing a single key ( ChangeWindowLayout).","Several .nib files for what looks like the Command Editor?","SRColor.plist: Colour settings for a huge range of different UI elements (for things like Audio Waveforms, etc.)","SRCursor.plist: Hotspot Locations for various mouse cursors.","There are also localised files in LOTS of different languages. In the English.lproj folder for example, it contains:","This looks like the Framework that contains all of the ProApps UI elements - from Windows, to Audio Meters, to Toolbars and the Browser.","TLKColor.plist: Colour settings for various timeline elements.","WideSliderIconAppearance.car: Not sure what these graphics are for?"]},{"l":"MediaToolbox","p":["Contains interfaces for playing video and audio content."]},{"l":"MIO","p":["Not sure what MIO stands for (maybe MediaIO or CoreMediaIO?) but seems to be something to do with the reading and processing of video & audio files. Possibly also has something to do with the controlling of FireWire DV devices?"]},{"l":"Ozone","p":["Ozone looks like it's the Apple Motion render engine. This Framework is identical in both Final Cut Pro & Motion.","This framework is quite big in terms of file size as it contains things like Environment Map's and Physical Layer Assets (all in OpenEXR format).","It contains one internal Framework:"]},{"l":"AudioMixEngine","p":["As the name suggests, this looks like a Framework that handles audio mixing.","It also contains several internal Plugins:","Behaviors.ozp","Navigator.ozp","Particles.ozp","Text.ozp"]},{"l":"PluginManager","p":["As the name suggests, this looks like the Plugin Manager for Final Cut Pro.","Interestingly, it contains a property list file called 6B9D8D3C-D3BF-4276-828F-2212D24B11CE.plist which contains a list of 3rd party plugins that can only run certain versions of the plugin on certain versions of Final Cut Pro."]},{"l":"ProAppsFxSupport","p":["I'm not exactly sure what this Framework is, but given it contains a whole bunch of files such as:","BlueNoise1.tiff, BlueNoise2.tiff, BlueNoise3.tiff","GaussianNoise1.tiff, GaussianNoise2.tiff, GaussianNoise3.tiff","PinkNoise1.tiff, PinkNoise2.tiff, PinkNoise3.tiff","TVStatic1.tiff, TVStatic2.tiff, TVStatic3.tiff","WhiteNoise1.tiff, WhiteNoise2.tiff, WhiteNoise3.tiff","...and the fact it's called \"ProAppsFxSupport\", one can only assume it's a support library for some of the internal effects Apple's ProApp's take advantage of.","This Framework also exists in Motion."]},{"l":"ProChannel","p":["A shared Framework between Motion & Final Cut Pro, I assume this is something to do with colour processing."]},{"l":"ProCore","p":["Another shared Framework between Motion & Final Cut Pro, I believe this Framework also has to do with colour processing - such as blend modes, and colour space conversion."]},{"l":"ProCurveEditor","p":["I believe this Framework contains the Curve Editor used by Apple Motion."]},{"l":"ProGL","p":["The Framework that handles the OpenGL processing. I believe this creates an NSOpenGLContext(i.e. an object that represents an OpenGL graphics context, into which all OpenGL calls are rendered)."]},{"l":"ProGraphics","p":["A shared Framework between Motion & Final Cut Pro, I assume this is something to do with graphics processing."]},{"l":"ProInspector","p":["The Inspector UI used by Motion."]},{"l":"ProMedia","p":["This Framework looks like it handles support for things like RAW images and OpenEXR. It looks like it uses Metal 1.0."]},{"l":"ProOSC","p":["This looks like Motion's Framework for handling On-screen Controls.","It looks like it's doing processing on the GPU using the OpenGL Shading Language.","It has several .glsl files inside:","GammaLineFragment.glsl","RGBBackgroundFragment.glsl","RGBForegroundFragment.glsl","RGBMaskFillBackgroundFragment.glsl","RGBMaskFillForegroundFragment.glsl","RGBMaskFillVertex.glsl","RGBVertex.glsl","ShapeDashFragment.glsl","ShapeDashVertex.glsl","ShapeSmoothFragment.glsl","ShapeSmoothVertex.glsl"]},{"l":"ProShapes","p":["Motion's framework for handling Shapes.","Looks like it uses Metal 1.0, and makes uses of the Helium Renderer."]},{"l":"RetimingMath","p":["Looks like it's used by Motion to do some kind of complex retiming algorithm's."]},{"l":"Stalgo","p":["STALGO is an industrial-strength C++ software package for computing straight skeletons and mitered offset-curves."]},{"l":"StudioSharedResources","p":["This Framework just looks like it's mainly a collection of UI images used by both Motion and Final Cut Pro."]},{"l":"TextFramework","p":["Text Tools used by both Motion & Final Cut Pro.","Looks like it uses Metal 1.0."]},{"l":"TLKEventDispatcher","p":["TimeLineKit Event Dispatcher.","This looks like it's the \"backend\" to the magnetic timeline - i.e. the framework that translates user interactions (such as mouse clicks and drags) to actions with Final Cut Pro's timeline.","It looks like you register \"events\" for the timeline, and this Framework handles these requests."]},{"l":"TLKit","p":["The TimeLineKit Framework. This is the Framework that makes up the Magnetic Timeline, and also the timelines for iMovie & Motion.","It contains a bunch of .caar files, which are binary plists.","The CornerRadius.plist file allows you to adjust the corner radius of clips in the timeline.","I believe filenames that say \"SimpleMode\" refer to iMovie."]},{"l":"VideoToolbox","p":["I think this is the Framework that communicates with AV Foundations, CoreMedia, and handles video decoding, codecs, etc."]},{"l":"Discuss this page"}],[{"l":"Benchmark","p":["This page is dedicated to benchmarking Final Cut Pro."]},{"l":"BruceX","p":["BruceX is a small Final Cut Pro X XML file that you import into Final Cut Pro. It creates a very short timeline at a high resolution: 5120 by 2700 (at 23.975 fps). It uses standard Final Cut generators, titles and transitions. As it uses many layers of complex content, it requires lots of GPU RAM.","The Bruce X benchmark is based on timing how long a Mac configuration takes to export the project.","You can learn more here."]},{"l":"Final Cut Pro Lag Test","p":["Robbie Patton has created a simple test that stresses Final Cut Pro.","It contains a .png, a .wav and a .aiff. It shows that the .wav and .aiff interact and create performance lag.","Also included in the Final Cut Pro library is a video file explaining how to replicate this test. This issue has been reported to Apple.","You can download here."]},{"l":"Discuss this page"}],[{"l":"Frequently Asked Questions","p":["This page is dedicated to answering the most common developer questions about FxPlug4, Workflow Extensions, etc.","You can use the Search Tool at the top right of this page to search the FAQ.","Something missing or have a question? Learn more here!"]},{"l":"C"},{"l":"Console spam from FxPlug4","p":["When you create an FxPlug4 plugin, you'll see a lot of these messages in Console:","Unfortunately, there's no way to stop it. It’s harmless, though.","I think what it’s trying to tell us is that the FxPlug4 process doesn’t have some files related to the UI that Apple display in Motion and Final Cut Pro.","The reason it cares about this is because they use ViewBridge to show NSView's from your process in their process. But because of the way they show them, it ends up not mattering.","I wish there were a way to turn off the spew, but it’s in macOS itself."]},{"l":"W"},{"i":"what-is-disabledrt-in-a-fcpxml","l":"What is disableDRT in a FCPXML?","p":["DRT is dynamic range tracking.","It’s an internal name the Final Cut Pro team use for the new automatic HDR settings.","The disableDRT setting in the FCPXML tells the app not to enable the automatic HDR settings on older projects created before the setting existed.","If you have existing projects and want to ensure they render the same as they did in previous versions, you don’t want to touch that value.","Something missing or have a question? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"FCPXML","p":["This section of the site is dedicated to FCPXML.","You can find the official Workflow Extensions documentation here.","There's a great article called Demystifying Final Cut Pro XMLs by Philip Hodgetts and Gregory Clarke over at fcp.co."]},{"l":"Preferred XML Editor","p":["I'm a massive fan of BBEdit 14.","It has a 30 day free trial, and is also available on the Mac App Store."]},{"l":"DTD Validation","p":["macOS has a built in XML lint tool - allowing you to validate a FCPXML document against it's DTD file.","A DTD (Document Type Definition) file is used in XML to define the structure and the legal elements and attributes of an XML document. It's a set of markup declarations that provide a rulebook for a specific type of XML document, describing what the document contains and how those elements and attributes are organised.","You can download all the FCPXML DTD files here.","You can then use this Terminal Command to validate things:","You can just drag in a file from Finder into Terminal, and Terminal will write out the file's path. Simply type xmllint --dtdvalid, then drag in the DTD file from Finder, and then your FCPXML file.","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"FxPlug","p":["This section of the site is dedicated to FxPlug4.","You can find the official FxPlug4 documentation here.","If you want a real-world example of a FxPlug4 application, you can look at Gyroflow Toolbox."]},{"i":"third-party-frameworks","l":"Third Party Frameworks.","p":["Here is a collection of useful third party frameworks."]},{"l":"FxKit","p":["A Swift implementation of FxCore plugins for Final Cut Pro and Apple Motion"]},{"l":"Release Notes"},{"i":"fxplug-427","l":"FxPlug 4.2.7","p":["Released: 18th July 2023","Improved reconnection of Plug-ins after crash.","Fixed an issue with the Motion hanging when a 3rd party plug-in crashes."]},{"i":"fxplpug-426","l":"FxPlpug 4.2.6","p":["Fixed a caching error when analysis was canceled.","Fixed a crash when scheduling frames for image wells.","Fixed a leak of IOSurface s in the FxAnalyzer when the plug-in canceled analysis.","Fixed a potential leak of OpenGL contexts during analysis.","Fixed an issue where a plug-in could start two analyses without the app realizing it.","Fixed an issue where an effect source layer used as the input to a generator image well would restrict the image well input to the template’s dimensions.","Fixed an issue where an FxPlug plug-in accessing multiple lights in a scene could cause a crash.","Fixed an issue where an older method was used for interpolating custom parameters.","Fixed an issue where analysis tasks canceled by the plug-in would remain in memory and block further analysis from happening.","Fixed an issue where only one push button would be available when using the FxSimpleColorCorrector example plug-in.","Fixed an issue where the Fx3DBox example plug-in would fail to build.","Fixed an issue where undoing a text change in a template that uses an FxPlug plug-in would cause a crash.","Fixed an issue where, in some cases, the FxOnScreenControlAPI-objectBounds method could return an incorrect cached value.","Fixed an issue with 3rd party plug-ins being restricted to rendering in Rec709 when Automatic Color Processing was enabled in a Motion project or template.","Fixed an issue with Full Width parameters being clipped on the right after reloading a project in FCP.","Fixed an issue with FxColorGamutAPI accessing previously-freed memory.","Fixed an issue with the 3D API where changes to the camera did not always cause the plug-in to re-render.","Improved stability and reliability","Removal of unsupported FxPlug 3 APIs from the FxPlug framework"]},{"i":"fxplug-425","l":"FxPlug 4.2.5","p":["Improved stability and reliability","Improved reconnection with plug-ins after a memory jetsam event.","Improved the speed of reconnection with plug-ins after a crash, or plug-in process suspension by macOS.","Improved the performance of image well inputs."]},{"i":"fxplug-424","l":"FxPlug 4.2.4","p":["Ensured that -layerMatrixAtTime:error: returns a transform that includes its ancestors' transforms.","Ensured that the analysis state is set properly if the plug-in returns NO from -desiredAnalysisTimeRange:forInputTimeRange:error:","Fixed a crash triggered by dragging an effect to Motion’s Favorites.","Fixed a large memory leak when retrieving image well images with zero opacity or of zero size.","Fixed a memory leak that affected Apple Silicon Macs.","Fixed a memory leak that could occur when retrieving frames at other times.","Fixed a performance issue when using image references with Drop Zones.","Fixed a potential crasher when a plug-in's window was open and the document was closed or the application was quit.","Fixed a potential hang when a plug-in called -startAction:.","Fixed an issue of the application hanging when deleting an instance of an FxPlug plug-in which had ongoing analysis.","Fixed an issue where custom views were sometimes not created properly for plug-ins that had numerous custom views.","Fixed an issue where the frames returned for analysis could be the wrong size.","Fixed an issue with Final Cut Pro unable to close the application window while FxPlug analysis was in-progress.","Fixed leak of a small empty image when an image well had no media in it.","Improved stability and reliability","Improved the speed of custom parameter creation."]},{"i":"fxplug-423","l":"FxPlug 4.2.3","p":["Changes to parameters made by OSCs will now be properly recorded in the host's undo stack.","Filters can now use FxAnalysisAPI_v2 methods to analyze image parameter inputs.","Fixed a crash when deleting a plug-in that had an active analysis session running.","Fixed a leak of onscreen control objects in the host.","Fixed an issue with -setPopupMenuParameter:entries:defaultValue: not updating pop-up menu entries in Final Cut Pro.","Fixed an issue with adding a path to a path picker.","Fixed an issue with display of the blocked/legacy plug-in warning.","Images retrieved from image wells in transitions will now have the proper image origin.","Improved behavior of rigged parameters.","Improved behavior of show/hide properties of parameters that have a dependency on another parameter.","Improved how FxRemoteWindowAPI handles window resizing.","Improved loading time of custom views in the host app's inspector.","Improved performance of the FxAnalysisAPI when analyzing HEVC and H.264 clips in Final Cut Pro.","Improved undo stack management for bulk changes to multiple parameters.","Introduced FxRemoteWindowAPI_v2 with a new method for setting the minimum and maximum size of remote windows","kFxCommand_Undo and kFxCommand_Redo commands now function from remote windows created in Final Cut Pro.","Minor changes made to the FxPlug template and examples to improve Metal rendering.","The FxColorGamutAPI should now be available during analysis.","The FxTimingAPI should now be available and give correct results during -pluginInstanceAddedToDocument.","The reply block for calls to -[FxRemoteWindowAPI remoteWindowOfSize:] will now always be run on the plug-in's main UI thread.","Undo group names are now used in the undo queue."]},{"i":"fxplug-422","l":"FxPlug 4.2.2","p":["-parameterChanged:atTime:error: should be called less frequently during undo and should be called when a plug-in changes a parameter.","Fixed an issue where putting a Motion object into an image well in a template could cause Final Cut Pro to crash.","Fixed an issue with -analyzeFrame:atTime:error: not being called from a custom UI control.","Fixed an issue with app bundle identification when rendering FxPlug 4 in Compressor.","Fixed an issue with FxParameterSettingAPI not setting a parameter successfully from within the body of a method associated with a push button.","Fixed an issue with onscreen control temporal drift when setting keyframes while dragging an OSC object.","Fixed an issue with setting parameter flags in a generator when the host is processing an undoable operation.","FxImageTile s should now be properly marked as having their origin in the top left or bottom left in all cases.","Images over 4,000 pixels on a side should no longer cause issues with transitions in Final Cut Pro.","Improvements to performance of FxAnalysisAPI.","Introduced FxAnalysisAPI_v2 with two new methods -startForwardAnalysis:ofParameter:error: and, -startBackwardsAnalysis:ofParameter:error: to analyze input from image reference parameters","Introduced FxParameterSettingAPI_v6, which adds two new methods, -addFlags:toParameter: and -removeFlags:fromParameter:, for simplified parameter flag management","Misusing -startAction:/ -endAction: will now log a message to the console and the call will do nothing.","Setting float parameters during analysis should cause OSCs to be updated.","The Timing API should now work properly when called from a custom view's -draw method.","Times sent to OSC methods in Final Cut Pro should be correct now.","When a plug-in sets the kFxPropertyKey_NeedsFullBuffer property, the apps should now always provide a fully buffered set of inputs and outputs, even if the entire canvas is not showing.","When a rigged FxPlug parameter is changed by the rig, the canvas will now properly update."]},{"i":"fxplug-421","l":"FxPlug 4.2.1","p":["FxRemoteWindowAPI allows a plug-in to create a window within Final Cut Pro or Motion and populate it with a custom view","Push button and help selectors no longer take an argument, which allows them to be properly called in Swift. This means you’ll need to update the selectors you previously sent to -addPushButtonWithName:parameterID:selector:flags:.","Changes to parameters are more consistent during onscreen control operations. Also, a series of changes from a mouseDown, through several mouseDragged events, and a mouseUp event will now automatically be treated as a single undoable event. There should be no need to use the UndoAPI during OSC usage.","The FxRemoteWindowAPI will only allow one window to be created per plug-in instance. The FxSimpleColorCorrector example has been updated to use the -displayWindow: method.","-setupAnalysisForTimerange:frameDuration:error: now provides field duration instead of frame duration for interlaced timelines. Progressive timelines remain unchanged.","The FxAnalyzer inputTimeRange no longer includes additional frame handles."]},{"i":"fxplug-420","l":"FxPlug 4.2.0","p":["FxPlug.framework is now a universal framework","FxCommandAPI_v2 allows a plug-in to move the host’s playhead to an arbitrary time","FxProjectAPI retrieves the URL of the plug-in data folder within a Motion project’s folder","FxParameterRetrievalAPI_v7 adds a method for retrieving the image information about an image parameter","New method -pluginInstanceAddedToDocument added to FxTileableEffect to track open documents in the host app","New kFxParameterFlag_USE_FULL_VIEW_WIDTH flag for parameters to use full width of the inspector","The FxShape example’s OSC has been made thread-safe","The macOS deployment target for the plug-in examples has been updated to 10.15","kFxError_UserCancelled added for FxAnalyzer for when you want to stop analysis, but don't wish to display an error alert to the user","Motion now warns users when it does not load 3rd party in-process FxPlugs on Apple Silicon","kFxParameterFlag_HIDDEN now works with custom parameters","Known Issues:","The FxDynamicRegistration example may display deprecation errors for FxOpenGLContextCache.m. This is expected when building with recent macOS SDKs because OpenGL has been deprecated. This example is included for Metal comparison purposes."]},{"i":"fxplug-410","l":"FxPlug 4.1.0","p":["Dynamically registered plug-ins’ plist requirements have changed for FxPlug 4.1 and the FxDynamicRegistration example has been updated.","FxAnalysisAPI allows frame-by-frame analysis of source video in both Final Cut Pro and Motion","FxBrightness example and Swift template have been updated to Swift 5.","FxImageTile s now include a CGColorSpaceRef describing the color space they are in","FxPlug 2 and FxPlug 3 are deprecated","FxPlug now ships as a sparse SDK, which requires you to make some small changes to the search paths of your plug-in in the Xcode project. This includes modifying the Additional SDKs ( ADDITIONAL_SDKS) setting to include /Library/Developer/SDKs/FxPlug.sdk, and replacing the current Framework Search Paths setting ( FRAMEWORK_SEARCH_PATHS) with /Library/Frameworks $(inherited) in the Build Settings of the Xcode project.","FxPlugs with windows can instruct the app to perform specific commands when the user presses a key combination for that command","Improved performance of enabling and disabling parameters","Improved responsiveness for OSCs and custom UI","Introduced Fx3DAPI_v5 and deprecated Fx3DAPI_v4","Known Issues:","Motion templates containing missing FxPlugs will now display an error rather than rendering","New Fx3DBox example demonstrates how to use the new Fx3DAPI_v5","New FxCommandAPI can instruct the host application to perform commands","PluginManager.framework is now copied to the bundle and code signed with a script in the FxPlug examples and FxPlug templates","Plugins are called to do work on background threads, and AppKit should never be used when running on a background thread. This may raise an exception, which will cause your plug-in to crash if your plug-in doesn’t catch it. All UI work should be done on the main UI thread. If you need to display an alert or window but are running on a background thread, you can use: dispatch_async(dispatch_get_main_queue(), ^(){…}); or: [self performSelectorOnMainThread:…]; These will both run your code on the main UI thread at some later time.","Some FxPlug example projects have revised names that include the prefix “Fx”.","The error “‘FxPlug/FxPlugSDK.h’” will occur after installing FxPlug 4.1 and attempting to build an FxPlug 4.0 or older plug-in. This is a result of the FxPlug SDK switch to a sparse SDK and can be easily remedied by changing the SDK and framework search locations in your plug-in’s Xcode project. See the release notes above for details.","ViewBridge keys added to plists for the FxPlug examples and FxPlug templates","You can receive the host's identifier and version with the new FxPrincipalDelegate protocol."]},{"i":"fxplug-400","l":"FxPlug 4.0.0","p":["FxPlug plug-ins run sandboxed and out-of-process for improved stability and security","Plug-in developers can control the rendering technologies and languages they use, including Metal and Swift","The new FxTileableEffect API allows plug-ins to render only the required portions of an effect for improved efficiency","The FxEyeType property indicates if Final Cut Pro X is currently rendering the left or right eye of a 360° Stereoscopic project","Plug-ins written in the FxPlug 4.0 style should use the latest protocol versions available as many of the new protocols do not inherit from previous versions and now use CMTime instead of FxTime","Even though OpenGL, OpenCL, and Quartz Composer have been deprecated in macOS, those technologies can still be used to aid in the phased migration of many FxPlug 3 plug-ins to FxPlug 4, and then to Metal or Core Image","Version A of PluginManager.framework is no longer bundled in the framework","FxPlug 3.1.1 documentation has been archived here","FxPlug 4.0 documentation highlights new and updated concepts and APIs in the FxPlug SDK; it is included as a PDF with the installer and is available here","Known Issues:","If you are attempting to use Hardened Runtime and are hitting this build error: “PluginManager.framework/Versions/A: bundle format unrecognized, invalid, or unsuitable. Command CodeSign failed with a nonzero exit code” when attempting to copy the PluginManager.framework into your built product while using Code Sign On Copy, you may need the following fix. Instead of using a \"Copy Files\" build phase, it is recommended that you use a “Run Script” build phase to copy and then force code sign PluginManager.framework. To code sign you can use the following command in your script: codesign --force --timestamp --options runtime --sign \"{CODE_SIGN_IDENTITY}\" \"/$/PluginManager.framework\"","Build error “Multiple commands produce …” occurs in Swift projects if the Product Name for both the Wrapper App and the XPC Service are the same. It is recommended that you append “XPC” to the product name of the XPC Service to differentiate it from the Wrapper App process.","If ad-hoc code signing fails when building plug-ins written in Swift, it is recommended you code sign the targets with your own certificate to avoid code sign build errors","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"iXML"},{"l":"Introduction","p":["iXML is an open standard for the inclusion of location sound metadata in Broadcast Wave audio files.","This includes things like Scene, Take and Notes information. It is designed to standardise the exchange of metadata between field recorders and post production software.","The iXML specification describes an WAV RIFF chunk in BWF files which contains standard XML data following the iXML specification.","iXML uses the XML (eXtensible Markup Language) standard for communication of tagged metadata. All fields are optional when creating iXML, and readers of iXML data must not assume or require any fields to be present.","A very simplified iXML data chunk, in a mono file with only the most basic metadata objects will look something like this:","You can read a very detailed article about iXML here."]},{"l":"Specification","p":["The iXML Specification can be found here."]},{"l":"Final Cut Pro iXML Support","p":["All of this occurs automatically on import, and the settings are retained for future import operations.","Although QuickTime files can also contain iXML metadata, as of version 10.3.3, Final Cut Pro seems to only be able to analyse WAV files on import.","As of Final Cut Pro 10.3.3, the following parameter's don't seem to be supported:","Audio Configuration Track Name","Audio Roles","CIRCLED","FALSE_START","FILE_SET","Final Cut Pro Metadata Property","Final Cut Pro Supports the following iXML fields:","Good","HISTORY","In Final Cut Pro, you can assign roles based on the iXML metadata using the Assign iXML track names if available checkbox in Import preferences.","It's important to note however that during the import, Final Cut Pro will copy this iXML metadata and store it in the Library database - it does not read the iXML metadata more than once, so if you update the iXML metadata after import, these changes will not be reflected in your Final Cut Pro Library.","iXML Parameter","NO_GOOD","NOTE","Notes","PROJECT","Reel","SCENE","SPEED","SYNC_POINT_LIST","TAKE","TAKE_TYPE","TAPE","The Assign Role setting and the Assign iXML track names if available setting can work together. For example, you can create a custom role such as Location Sound using the role editor and then choose that role from the Assign Role pop-up menu. If the Assign iXML track names if available checkbox is selected, imported clips are assigned the Location Sound role, with custom audio channel names coming from the iXML file.","TRACK_LIST: FUNCTION","TRACK: NAME","UBITS","When this checkbox is selected, Final Cut Pro analyses imported audio for iXML metadata tags, then creates subroles with the names embedded by the audio field recorder, and assigns the subroles to the corresponding components in the imported clips.","WILD_TRACK"]},{"l":"Tools","p":["The most useful tool for reading and writing iXML data is the free Sound Devices Wave Agent."]},{"l":"Discuss this page"}],[{"l":"Library Bundle"},{"l":"Introduction","p":["There's very limited information out there about the Final Cut Pro library bundle.","The purpose of this article is to look inside the bundle, and explain what all its bits are and how it works. Let the adventure begin!"]},{"l":"Core Data","p":["Before we dig too deep into the Final Cut Pro library, it's important to understand one of the core technologies Apple uses in Final Cut Pro - Core Data.","Core Data is an object graph and persistence framework provided by Apple in the macOS and iOS operating systems. More than 13 years old now (at the time of writing), Core Data was introduced in Mac OS X 10.4 Tiger and iOS with iPhone SDK 3.0 and like many parts of macOS, Core Data owes much of its design to an earlier NeXT product, Enterprise Objects Framework (EOF).","You can watch the original 2004 WWDC session on Core Data here.","You can read Apple's official developer documentation on Core Data here.","Core Data is a framework that you use to manage the model layer objects in an application. It provides generalised and automated solutions to common tasks associated with object life cycle and object graph management, including persistence (meaning that, for example, an iPhone App can remember its settings each time the phone is turned off and on again).","It allows data organised by the relational entity–attribute model to be serialised into XML, binary, or SQLite stores. The data can be manipulated using higher level objects representing entities and their relationships. Core Data manages the serialised version.","Core Data can interface directly with SQLite, insulating the developer from the underlying SQL - but it's not a SQL wrapper, and offers a much higher level of abstraction. Instead of writing SQL, you can create complex queries by associating an NSPredicate object with a fetch request. However, because Core Data can use SQLite, it's easy to get confused with the differences between SQLite and Core Data. Remember that Core Data isn’t a database. If you want an Object-relational mapping (O/RM) or SQL wrapper, Core Data is not what you want.","Essentially, Core Data is a model layer technology, that's been designed to help programmers do lots of cool stuff, whilst writing less code. It's a toolkit that allows developers to more easily access and manipulate data. For example, it has built-in undo/redo management, allowing developers to add complex undo/redo functionality to their applications with minimum code.","Even though Core Data is a fantastic framework, there are several drawbacks. These drawbacks are directly related to the nature of the framework and how it works.","Core Data can only do its magic because it keeps the object graph it manages in memory. This means that it can only operate on records once they’re in memory. This is very different from performing a SQL query on a database. If you want to delete thousands of records, Core Data first needs to load each record into memory. It goes without saying that this results in memory and performance issues if done incorrectly.","Another important limitation is the threading model of Core Data. The framework expects to be run on a single thread. Fortunately, Core Data has evolved dramatically over the years and the framework has put various solutions in place to make working with Core Data in a multithreaded environment safer and easier.","For applications that need to manage a complex object graph (i.e. Final Cut Pro), Core Data is a great fit."]},{"l":"DeepSkyLite","p":["Final Cut Pro uses a lot of internal Frameworks, which you can learn more about here.","Within the Flexo Framework, is a framework called DeepSkyLite, which is essentially the \"database engine\" for Final Cut Pro.","Inside the DeepSkyLite Framework is two Compiled Core Data Models:","DSLite_v1.mom","DSLite_v2b1.mom","A .mom file is a binary property list that's NSKeyedArchiver encoded. You can easily open it up in something like BBEdit and have a look, but the easiest and best way to explore a Core Data Model is to just import it back into Xcode.","Here's what Final Cut Pro's model looks like in Xcode:","Patent Screenshot","Interestingly, this model is used for both Final Cut Pro on Mac and Final Cut Pro for iPad."]},{"l":"Discuss this page"}],[{"l":"Patents","p":["Alex4D has a great blog post on the Magnetic Timeline patent (Media-editing application with media clips grouping capabilities) here.","The actual patent can be found here.","Here's one of the screenshots from the patent:"]},{"l":"Patents on Google Patents","p":["...it's a deep rabbit hole, enjoy!","Accelerator handles","Adjustment of color values for optimized image processing","Anchor point in media","Application for designing journals","Applying a Realistic Artistic Texture to Images","Associating keywords to media","Auto stacking of related images","Automatic generation of multi-camera media clips","Boolean Search User Interface","Christophe Souchard","Colleen Pendergast","Color adjustors for color segments","Context aware user interface for image editing","Context based adaptive image resampling","Display of multiple images","Edit to tape","Estimating and removing lens distortion from scenes","Fanning user interface control for medium editing application","Fanning user interface controls for a media editing application","Fast creation of video segments","Here's a small collection of Final Cut Pro related patents:","Import directly into specified folders and user interface","Interactive image thumbnails","Ken Matsuda","Media-editing application with media clips grouping capabilities","Method and apparatus for color correction","Method and apparatus for dynamically resizing windows","Method and interface for converting images to grayscale","Modified media presentation during scrubbing","Navigating Image Presentations","Navigation within a large computer file","Optimizing the Execution of Media Processing Routines Using a List of Routine Identifiers","Previewing effects applicable to digital media content","Producing Smooth Motion Compensated Frames by Combining Multiple Interpolation Results","Publishing Media Content to Virtual Movie Theatres","Randy Ubillos","Regular sampling and presentation of continuous media stream","Retiming media presentations","Rolling shutter distortion correction","Select drag and drop operations on video thumbnails across clip boundaries","Smoothing and/or locking operations in video editing","Spatial and temporal alignment of video sequences","Spatial conform operation for a media-editing application","Split edits","Synchronizing video with audio beats","Techniques for displaying digital images on a display","Two-dimensional timeline display of media items","Unified slider control for modifying multiple image properties","User interface tools for selectively applying effects to image","User interfaces for editing video clips","Video and audio waveform user interface","Video format for digital video recorder","Viewing digital images on a display using a virtual loupe","Viewing digital images using a floating controller","Visual presentation composition","Want to contribute? Learn more here!","You can find more by searching by these authors:"]},{"l":"Discuss this page"}],[{"i":"tools--frameworks","l":"Tools & Frameworks","p":["This section of the site is dedicated third party developer tools and frameworks."]},{"l":"F"},{"l":"FxCore","p":["FxCore is a node-based compositing engine inspired by Quartz Composer and designed for the demanding workloads of visual effects hosted by video applications.","FxCore powers the most advanced products you see in FxFactory, providing Metal GPU acceleration to our plugins running in Final Cut Pro, Premiere Pro, After Effects and Motion."]},{"l":"FxKit","p":["A Swift implementation of FxCore plugins for Final Cut Pro and Apple Motion"]},{"l":"M"},{"l":"MarkersExtractor CLI","p":["MarkersExtractor CLI is Marker metadata extraction and conversion tool for Final Cut Pro. It is both a CLI Tool and an API Library.","Some of the core features include :","Accurately extract Markers from FCP's FCPXML/FCPXMLD","Ability to batch extract and render stills or animated GIFs based on each marker's timecode","Ability to batch burn-in labels of each marker's metadata onto the stills or animated GIFs","Spearheaded by Vigneswaran Rajkumar."]},{"l":"O"},{"l":"OpenTimelineIO","p":["OpenTimelineIO is an interchange format and API for editorial cut information. OTIO contains information about the order and length of cuts and references to external media. It is not however, a container format for media.","For integration with applications, the core OTIO library is implemented in C++ and provides an in-memory data model, as well as library functions for interpreting, manipulating, and serializing that data model. Within the core is a dependency-less library for dealing strictly with time, opentime.","The project also supports an official python binding, which is intended to be an idiomatic and ergonomic binding for python developers. The python binding includes a plugin system which supports a number of different types of plugins, most notably adapters, which can be used to read and write legacy formats into the OTIO data model."]},{"l":"P"},{"l":"Pipeline","p":["Pipeline is a Swift framework for working with FCPXML files easily.","However, it hasn't been updated since June 2019."]},{"l":"S"},{"l":"SubtitleKit","p":[".dxfp",".sbv",".srt",".sub",".ttml",".vtt","DXFP","File extension","Format","Is supported","No","Package for creating, modifying, and managing subtitle files, such as SubRip (.srt).","Partially","SubRip","SubViewer","Supported formats","TTML","WebVTT","Yes","YouTube Captions"]},{"l":"T"},{"l":"TimecodeKit","p":["The most robust, precise and complete Swift library for working with SMPTE timecode. Supports 22 industry timecode frame rates, including conversions to/from timecode strings and offering timecode-based calculations.","Timecode is a standard for representing video frames and used for video burn-in timecode (BITC), or display in a DAW (Digital Audio Workstation) or video playback/NLE applications."]},{"l":"V"},{"l":"Vuo","p":["Vuo is a visual programming tool using patches and 'noodles' to construct a composition that will process video. Those compositions will be able to be published directly for use within FCPX. You can build effects, generators and transitions.","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Workflow Extensions","p":["This section of the site is dedicated to Workflow Extensions.","You can find the official Workflow Extensions documentation here.","If you want a real-world example of a FxPlug4 application, you can look at CommandPost.","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Credits","p":["FCP Cafe was thrown together by Chris Hocking at LateNite Films.","The FCP Cafe icon was designed by the amazing Matthew Skiles.","You can download a Desktop Wallpaper version of it here.","The origin story comes back to this tweet, where Alex Gollner tweeted that \"fcp.co is no longer the Final Cut Pro watercoooler place\", and Chris replied with \"Screw it… I just registered finalcutpro.tech. Let’s do this thing!\".","Chris decided that FCP Cafe was a better name/domain, and as a result, this site was born.","Since creating the site, lots of people have contributed!"]},{"l":"LateNite Films","p":["LateNite is an independent production studio committed to investing in emerging creatives with strong, unique voices, helping tell their stories in a creatively supportive and collaborative environment. Our work uses humour to explore outsider stories that are unmistakably human and straddle the line between light and dark."]},{"l":"Chris Hocking","p":["Chris has been working in the entertainment industry for over two decades. Previously the Post Production Supervisor at Melbourne's award winning editing house The Butchery, and finishing house The Refinery, Chris has an incredibly strong and varied technical and business background, ensuring that each production makes use of the best and most relevant technology and workflows. He is the creator of the open source macOS application, CommandPost, which has been downloaded over 165K times - as well as a suite of Final Cut Pro tools on the macOS App Store. His producing credits include the SBS2 series The Wizards of Aus, the Fairy Tale unit on Foxtel mini series Lambs of God, and the ABC ME project The Legend of Burnout Barry. Chris is a member of SPA, ASE and is an Adobe Certified Expert."]},{"l":"Discuss this page"}],[{"l":"Privacy Policy","p":["Last Updated: Tuesday 13th June 2023","FCP Cafe does not use cookies on its website.","We do not collect any personal identifiable information from you when you visit our Website.","We don't embed any videos - we only show a thumbnail which links to the video - to prevent third party cookies/trackers.","We use GitHub Pages to host and manage this website.","We use CloudFlare for DNS hosting, and VentraIP for domain hosting.","You can read CloudFlare's privacy policy here.","We use GitHub Issues to manage our Bug Tracker& Wish List.","We use GitHub Discussions to manage the comments and discussions on the site.","The comments feature at the bottom of every page is powered by giscus, which also has no tracking or database.","You can read GitHub's Privacy Statement here.","The source code and change log for this website can be found on GitHub.","Any code (such as GitHub Actions) are licensed under a MIT License."]},{"l":"Security","p":["The security of your Personal Information is important to us, but remember that no method of transmission over the Internet, or method of electronic storage, is 100% secure. While we strive to use commercially acceptable means to protect your Personal Information, we cannot guarantee its absolute security."]},{"l":"Links to other sites","p":["FCP Cafe contains links to other sites that are not operated by us. If you click on a third party link, you will be directed to that third party's site. We strongly advise you to review the Privacy Policy of every site you visit.","We have no control over, and assume no responsibility for the content, privacy policies or practices of any third-party sites or services."]},{"l":"Changes to This Privacy Policy","p":["We may update our Privacy Policy from time to time. Thus, you are advised to review this page periodically for any changes. We will notify you of any changes by posting the new Privacy Policy on this page. These changes are effective immediately after they are posted on this page.","You can check the change history of this privacy policy here."]},{"i":"questions","l":"Questions?","p":["Please contact us with any questions: support@latenitefilms.com"]},{"l":"Discuss this page"}],[{"l":"Contribute","p":["FCP Cafe is entirely open source and hosted on GitHub.","GitHub is a safe and secure developers platform used by over 73 million users worldwide.","FCP Cafe uses CloudFlare for DNS hosting, and VentraIP for domain hosting.","You can make changes to the site by submitting pull requests on GitHub.","We welcome and encourage users submitting their own case studies, articles, products and news items.","You can see all the current contributors here. Everything is tracked and archived on GitHub.","The entire site is written in Markdown, so it's very easy to modify and update without necessarily knowing any HTML or code.","The website is build on Retype, which has a lot of power and flexibility, so you can easily add all kinds of components just using Markdown.","However, if you're not confident using GitHub, you can also email us content here: support@latenitefilms.com"]},{"l":"Our To-Do List","p":["‘What have I done’ you’ve opened the precision editor, ESC will close it.","‘What’s that red box in the viewer’ (zoomed in, shift Z to ‘fit to window’)","(Turn off background rendering and select leave files in place…)","Add any missing Motion Templates, Tools and Plugins.","Add information to our FAQ.","Add personalised reviews to any Motion Templates, Tools and Plugins you use regularly.","Backups and how to.","captions (we now use filmora for speech to text captions)","Dave Davis","Dominic Leung","Ed Hanbury","Elise Butt","Expand the Motion Templates page. For example, rather than just having one section for MotionVFX and FxFactory, we should also list their best/most useful products.","Fouad Gaber","Help!!! It’s saying my storage is full and I’m only working on a five minute zoom call!!!!","If you're interested in collaborating, and helping FCP Cafe grow, here's some ideas of some of the things you can do:","If you've worked on a professional product (feature film, short film, television commercial, television series, etc), consider writing a case study.","Make sure all your Final Cut Pro bug reports are added to our Bug Tracker.","Make sure all your Final Cut Pro feature requests are added to our Wish List.","Matt Newman(last 3 years only!)","Media management, everything from how to setup the library and best practices to its using all my drive space to export settings.","Media usage, drive bandwidth, proxy, etc","Paul Hardcastle(last 9 months only!)","Rendering or exporting failing normally due to a corrupt rendered frame","Rohan Zerna(earlier TVCs were cut in FCP7)","Ross Hallard","There's a bunch of stuff we can add to the FAQ - these are real questions from the community:","There's a bunch of TVCs we can add to the Cut on Final Cut Pro page:","Why \"Leave In Place\", doesn't when Importing copied card structures from a drive, using the Import window. This consistently baffles and confuses folks, often resulting in the dreaded \"missing camera icon\", due to crashing and slowness because they are unwittingly copying media back to the source, where the media already is.","Why do we have to render over and over again a project with titles everytime we close the program","working remotely online / proxy editing","XML workflow between PP is still a biatch."]},{"l":"Our Mission","p":["We want this site to be:","Open: This site will remain open-source on GitHub for anyone to suggest pull requests","Up-to-date & Relevant: We want this site to always be up-to-date and relevant","No bullshit: We want this site to be honest, truthful, useful and professional","Community Driven: This isn't our site, it's \"owned\" by the professional Final Cut Pro Community","Modern: This site should work great on the latest browsers, including mobile","Fast & Clean: This site should load quickly, and be easy to navigate","No analytics or user tracking: No cookies here!"]},{"i":"advertising--sponsored-content","l":"Advertising & Sponsored Content","p":["We're open to promoting Final Cut Pro products and services on the front page within the Latest News in a clean and useful way.","For example, here's a sponsored post that could appear on the home page within the Latest News:","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!","Sponsored posts can just be plain text, with a single link. We don't allow images, videos, or other embedded elements.","If you would like to advertise on FCP Cafe, please contact us to discuss: support@latenitefilms.com"]},{"i":"whats-a-pull-request","l":"What's a Pull Request?","p":["Imagine you're working with a group of friends on a big school project, and you're all adding different parts to it. Now, you're all using the same master copy of the project, but you're all working separately. When you're ready to add your part to the master copy, you don't just want to plop it in there. You want your friends to check it over, make sure it fits with everything else, and then add it in when they agree it's ready. This way, you ensure that everyone's work meshes well together and the project doesn't become a mess.","A GitHub pull request is basically the same idea. When you're working on a shared codebase, or \"project,\" you often work on your own copy, or \"branch\". When you think your changes are ready to be added to the shared codebase, you make a \"pull request\". This is a proposal that says \"I think these changes I made should be added to our shared project\".","Your teammates then can look over your changes, suggest edits, and finally, if they agree that your changes are good, they \"merge\" them into the shared project. This way, everyone keeps the code clean and organized, and you have a record of who added what and when.","So, in simple terms, a pull request is a way of proposing changes to a shared project and allowing others to review and approve those changes before they're added."]},{"l":"Navigating GitHub","p":["For example, each time you make a pull request, our fancy GitHub Action does the following:","However, to make sure the website is super easy to update and improve, we use GitHub Actions to \"do stuff\" to our markdown files whenever we submit a pull request.","Looks at all the individual Asset Management in this folder, and generates an alphabetical list of them for the Asset Management page.","Looks at all the individual Camera Formats in this folder, and generates an alphabetical list of them for the Camera Formats page.","Looks at all the individual FAQ in this folder, and generates an alphabetical list of them for the FAQ page.","Looks at all the individual FxPlug in this folder, and generates an alphabetical list of them for the FxPlug page.","Looks at all the individual Motion Templates in this folder, and generates an alphabetical list of them for the Motion Templates page.","Looks at all the individual News item in this folder, and generates an alphabetical list of them for the Latest News page.","Looks at all the individual Plugins in this folder, and generates an alphabetical list of them for the Plugins page.","Looks at all the individual Sponsors in this folder, and uses them on the Latest News page.","Looks at all the individual Tools & Frameworks in this folder, and generates an alphabetical list of them for the Tools & Frameworks page.","Looks at all the individual Tools in this folder, and generates an alphabetical list of them for the Tools page.","Looks at all the individual Workflow Extensions in this folder, and generates an alphabetical list of them for the Workflow Extensions page.","Looks at all the Latest News items and generates an RSS feed","This means, if you want to add a Tool, Motion Template, Workflow Extension, News item, etc. you can just add a new markdown file in that folder, and once the pull request is approved, everything will be updated automagically.","To create the fastest website possible, FCP Cafe is what's called a \"static site\". It just a collection of HTML files in a folder - nothing fancy."]},{"l":"How to Edit Pages","p":["Edit this file","If changes are required, they'll add comments within the pull request.","If you have questions, you can ask them on the Discussions board.","If you're modifying a list of Tools or Workflow Extensions, everything should be sorted in alphabetical order.","If you're not already registered with GitHub, create a free account.","Once done click Commit changes. You can enter a message and description for the commit. Press Commit changes again.","There's an Edit this page on GitHub link at the bottom of every page.","This will send your changes to the FCP Cafe team to review and approve.","To make changes simply click the little pencil Edit this file button.","You can add a title and detailed description to the pull request. Once you're done click Create pull request.","You can also email us here: support@latenitefilms.com","You can edit the contents of this page by clicking the link at the bottom of this page.","You can learn more about basic formatting here.","You can then make changes in the text editor using the Markdown syntax. Copying and pasting existing syntax is the best way to get started.","You should make sure all external links open in a new tab/window (edit this page to see how that works).","You will now be presented with a Open a pull request page."]},{"l":"GitHub Web-based Editor","p":["You can use the github.dev web-based editor to edit files and commit your changes.","Simply replace the .com with .dev on any GitHub URL.","For example to edit this page you can use:","You can learn more here."]},{"l":"External Links","p":["All external links should open in a new tab/window.","This is handled automatically by Retype."]},{"l":"Embedded Videos","p":["To keep that site as fast as possible, and free from tracking/cookies, we've decided not to allow embedded videos.","Instead, we'll be posting the Video Thumbnail as a clickable link to the video.","Here's an example of how this looks in Markdown:","You can use this website for download YouTube Thumbnails."]},{"l":"Images","p":["All images should be stored within the /docs/static/ folder on GitHub.","You can find it here."]},{"l":"GitHub Desktop","p":["You can also use GitHub Desktop to essentially \"clone\" the entire FCP Cafe website to your local machine.","You can then make changes locally, and once done, submit a pull request back to the main GitHub repository.","You can download GitHub Desktop here.","You can then use a text editor like BBEdit to edit your Markdown files on your Mac."]},{"l":"Powered by Retype","p":["FCP Cafe is powered by Retype and hosted on GitHub Pages.","We've VERY thankful for all the support Retype has given us!","The comments feature at the bottom of every page is powered by giscus."]},{"l":"Contributor Covenant Code of Conduct"},{"l":"Our Pledge","p":["We as members, contributors, and leaders pledge to make participation in our community a harassment-free experience for everyone, regardless of age, body size, visible or invisible disability, ethnicity, sex characteristics, gender identity and expression, level of experience, education, socio-economic status, nationality, personal appearance, race, caste, color, religion, or sexual identity and orientation.","We pledge to act and interact in ways that contribute to an open, welcoming, diverse, inclusive, and healthy community."]},{"l":"Our Standards","p":["Examples of behavior that contributes to a positive environment for our community include:","Demonstrating empathy and kindness toward other people","Being respectful of differing opinions, viewpoints, and experiences","Giving and gracefully accepting constructive feedback","Accepting responsibility and apologizing to those affected by our mistakes, and learning from the experience","Focusing on what is best not just for us as individuals, but for the overall community","Examples of unacceptable behavior include:","The use of sexualized language or imagery, and sexual attention or advances of any kind","Trolling, insulting or derogatory comments, and personal or political attacks","Public or private harassment","Publishing others' private information, such as a physical or email address, without their explicit permission","Other conduct which could reasonably be considered inappropriate in a professional setting"]},{"l":"Enforcement Responsibilities","p":["Community leaders are responsible for clarifying and enforcing our standards of acceptable behavior and will take appropriate and fair corrective action in response to any behavior that they deem inappropriate, threatening, offensive, or harmful.","Community leaders have the right and responsibility to remove, edit, or reject comments, commits, code, wiki edits, issues, and other contributions that are not aligned to this Code of Conduct, and will communicate reasons for moderation decisions when appropriate."]},{"l":"Scope","p":["This Code of Conduct applies within all community spaces, and also applies when an individual is officially representing the community in public spaces. Examples of representing our community include using an official e-mail address, posting via an official social media account, or acting as an appointed representative at an online or offline event."]},{"l":"Enforcement","p":["Instances of abusive, harassing, or otherwise unacceptable behavior may be reported to the community leaders responsible for enforcement at[INSERT CONTACT METHOD]. All complaints will be reviewed and investigated promptly and fairly.","All community leaders are obligated to respect the privacy and security of the reporter of any incident."]},{"l":"Enforcement Guidelines","p":["Community leaders will follow these Community Impact Guidelines in determining the consequences for any action they deem in violation of this Code of Conduct:"]},{"l":"1. Correction","p":["Community Impact: Use of inappropriate language or other behavior deemed unprofessional or unwelcome in the community.","Consequence: A private, written warning from community leaders, providing clarity around the nature of the violation and an explanation of why the behavior was inappropriate. A public apology may be requested."]},{"l":"2. Warning","p":["Community Impact: A violation through a single incident or series of actions.","Consequence: A warning with consequences for continued behavior. No interaction with the people involved, including unsolicited interaction with those enforcing the Code of Conduct, for a specified period of time. This includes avoiding interactions in community spaces as well as external channels like social media. Violating these terms may lead to a temporary or permanent ban."]},{"l":"3. Temporary Ban","p":["Community Impact: A serious violation of community standards, including sustained inappropriate behavior.","Consequence: A temporary ban from any sort of interaction or public communication with the community for a specified period of time. No public or private interaction with the people involved, including unsolicited interaction with those enforcing the Code of Conduct, is allowed during this period. Violating these terms may lead to a permanent ban."]},{"l":"4. Permanent Ban","p":["Community Impact: Demonstrating a pattern of violation of community standards, including sustained inappropriate behavior, harassment of an individual, or aggression toward or disparagement of classes of individuals.","Consequence: A permanent ban from any sort of public interaction within the community."]},{"l":"Attribution","p":["This Code of Conduct is adapted from the Contributor Covenant, version 2.1, available at https://www.contributor-covenant.org/version/2/1/code_of_conduct.html.","Community Impact Guidelines were inspired by Mozilla's code of conduct enforcement ladder.","For answers to common questions about this code of conduct, see the FAQ at https://www.contributor-covenant.org/faq. Translations are available at https://www.contributor-covenant.org/translations."]},{"l":"Discuss this page"}]]
\ No newline at end of file
+[[{"i":"#","p":["FCP Cafe is a technical community for professional Final Cut Pro editors."]},{"l":"Latest News","p":["FCP Cafe is an online community for professional Final Cut Pro editors.","Learn more about RSS Feeds here.","Should I update Final Cut Pro? Read our current recommendations here."]},{"i":"make-fcp-cafe-your-home-page","l":":icon-bookmark: Make FCP Cafe your Home Page","p":["Click Enter a URL. Then, type: https://fcp.cafe.","Click the General tab.","Click Yes.","Drag this tab to the Home button, then release.","If you have a current homepage: Next to the URL, click X.","In the menu bar on the top of your browser, click Tools.","In the top left corner of your screen, select Safari and then Preferences and then General.","In the top right corner of your computer's browser, click More icon and then Settings.","In the upper right corner of your browser, select the More icon and then Settings.","Next to Homepage enter: https://fcp.cafe.","Next to New windows open with and New tabs open with, select Homepage.","Select Internet Options.","Select your current homepage, then, enter: https://fcp.cafe.","Under \"Home page,\" enter: https://fcp.cafe, click OK and restart your browser.","Under Appearance, turn on Show home button.","Under Set your homepage, click the Down arrow and then A specific page or pages."]},{"l":"2023"},{"l":"August"},{"l":"17th August 2023","p":["Ripple Training is having a 72 hour Flash Sale!","These are awesome Final Cut Pro plugins personally created by Steve and Mark.","You can learn more here.","More information has been announced about the upcoming FCP Creative Summit.","You can follow along with the latest news here.","Want to contribute or advertise? Learn more here!"]},{"l":"10th August 2023","p":["Florian Duffe has tried something new on FCP Cafe, and has added an epic new interview-style case study!","You can read the over eight-thousand-word case study on the feature film SCHOCK here.","We've added FxPlug4 release notes to the FxPlug section.","As there's no official notification system for when FxPlug and Workflow Extensions SDK are updated, we'll try and keep an eye out and let you know on FCP Cafe when there's an update.","The Final Cut Pro Creative Summit dates and locations have now been confirmed.","It will take place November 6th to 8th at Apple Park & The Hyatt Regency Santa Clara.","Whether you are a trained professional or just starting your creative career, Apple has the software and tools you need to power your creative work. This unique event is where Apple power users and Final Cut Pro Professionals come together to learn and discuss their craft. We are excited to be back in Cupertino! The FCP Creative Summit features 2 full days of sessions in multiple tracks and a unique day at Apple!","You can visit the official website here.","Gyroflow Toolbox v1.1.2 is out now!","This release includes two bug fixes:","Updated to FxPlug v4.2.7, which offers improved stability and reliability.","Fixed a bug that could cause a memory leak. Thanks for reporting Денис Глушков!","Thanks to everyone who has purchased, downloaded and tested the latest Gyroflow Toolbox updates! The response has been awesome!","You can learn more and buy on the Mac App Store here.","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com"]},{"l":"6th August 2023","p":["Gyroflow Toolbox v1.1.1 is out now!","This release includes two bug fixes:","Fixed an issue where the Gyroflow Toolbox output could be incorrectly clipped when in a HDR project. Thanks for reporting Tumist! Thanks to AdrianEddy for fixing the issue in Gyroflow Core!","Fixed an issue where a Gyroflow Project could fail to reload correctly after restarting Final Cut Pro due to FxPlug4 incorrectly HTML decoding the string value. We solve this by now base64 encoding the Gyroflow Project in FxPlug4.","Thanks to everyone who has purchased, downloaded and tested the latest Gyroflow Toolbox updates! The response has been awesome!","You can learn more and buy on the Mac App Store here.","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!"]},{"l":"4th August 2023","p":["Gyroflow Toolbox v1.1.0 is out now!","I've dramatically improved the user interface to make it much easier, faster and more powerful.","You can now just drag & drop clips from the Final Cut Pro Browser to the Effects Inspector, including BRAW Toolbox clips!","You can learn more and buy on the Mac App Store here.","Final Cut Pro Efficient Editing: The ultimate guide to editing video with FCP for Mac, 2nd Edition is out now as both a Kindle and Paperback book.","It's been written by the amazing Iain Anderson- an author, editor, director, videographer, programmer, animator and educator based in Brisbane, Australia. An Apple Certified Trainer who regularly presents at conferences and user group meetings, Iain is a Lead Trainer for macProVideo.com, and creates educational video content for CoreMelt and many other organizations.","You can buy on Amazon here.","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"2nd August 2023","p":["Final Cut Pro 10.6.8 is now available on the Mac App Store!","The release notes only have one line:","Fixes an issue where video could freeze in the viewer.","However, based on early reports, this release seems to fix the various crashes that users were reporting too, in addition to the Viewer sometimes going black or strobing.","If you're currently using Final Cut Pro 10.6.6 or earlier we recommend sticking with that for the time being.","However, if you're using Final Cut Pro 10.6.7 we recommend updating.","Please make sure you make a backup of your Final Cut Pro application by creating a ZIP file of it, before updating. You should also manually backup any libraries before updating.","You can learn more about the issues in Final Cut Pro 10.6.7 here.","Ulti.Media is currently have a Super Software Summer Sale!","Most of their apps will be at super discount from the 1st to 15th of August.","You can learn more here.","Serge M has released an awesome new video with a bunch of Final Cut Pro tips from some of the best brains in the community.","You can watch on YouTube:","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com"]},{"l":"July"},{"l":"29th July 2023","p":["Automatically index your footage and search your library with natural language. No cloud required.","Currently it only exports to Adobe Premiere, however Final Cut Pro support is on the roadmap.","From the team behind Audio Design Design, SoundGen is a generative AI experience that turns your text prompts into music and art, with the option to download the files and add them into your film and audio projects.","Get it now at 30% OFF on the biggest storewide sale of the year!","Here's also a very early sneak peak of Audio Design Desk 2.0:","Kino AI for Mac is out now as a public beta!","Kino is an AI assistant for tracking footage metadata and organizing your media assets.","motionVFX's mPuppet is now 100% Apple Silicon native!","Pull the right strings and bring your assets to life with organic movement!","The alpha version can only do a maximum of 30 seconds. Depending on the prompt, sometimes it can found great, other times it's very computer generated. It'll definitely improve dramatically over time!","The beta program is entirely free for you to use and experiment with. As SoundGen matures, the developers will be integrating it directly into Audio Design Desk.","Their goal is to give their users access to an even broader collection of sounds on demand, right within the DAW.","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!","We've been testing it out, and it's very handy. It uses everyone's favourite whisper.cpp, and Open Neural Network Exchange (ONNX) under the hood.","You can learn more here.","You can sign up here.","You can watch a demonstration here:"]},{"l":"24th July 2023","p":["Ben Kozuch reports:","The 2023 FCP Summit will take place in Cupertino in November.","We will be announcing dates, venue and the program in about a week.","The Summit will feature a full day at Apple followed by 2 day of breakout sessions and a mini expo at a hotel venue close by.","Courtesy Apple, the cost of Full Pass will only be USD$299 for the entire 3 days.","Exciting times!","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"22nd July 2023","p":["The amazing Alex Raccuglia from Ulti.Media has written an incredibly detailed developer case study discussing his latest application Transcriber.","You can read the case study here.","You can learn more and purchase at FxFactory.","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com"]},{"l":"21th July 2023","p":["\uD83D\uDE0E 300+ drag & drop presets\uD83D\uDE0E Mocha tracking\uD83D\uDE0E Create your own flares\uD83D\uDE0E Beat Reactor + more","A unique Keyword Manager","Builder includes:","Builder is a hybrid of word processor and video editor combined! It's faster for transcript-based workflows than in Final Cut Pro.","Builder is a Text Based Editing app that’s tightly integrated with, and complements, Final Cut Pro. Builder NLE is a fully featured Text Based Editor that works with Final Cut Pro.","Builder is designed to write stories from multiple transcripts using transcripts to edit text and video at the same time.","Builder is the ultimate solution for text-based video editing for productions that rely heavily on transcripts.","Built-in synthetic voiceover","Come for the free transcripts, and write great stories with our superior workflows!","Full keywording support (to and from Final Cut Pro)","Multiple outputs including sending to Final Cut Pro for finishing","Our friends at Boris FX have added some new Continuum FCP Lens Flares.","Quickly add dreamy lens flares to your #FCP projects — only $39!","Superb search and filtering tools","Text and video are always linked so you can go from scanning text to observing nuance, instantly, anywhere in Builder.","Today is the last day of the introductory USD$50 discount on Builder NLE in the Mac App Store.","Unlimited free transcription in 14 languages","Unlimited stores","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!","You can buy on the Mac App Store here.","You can learn more here."]},{"l":"20th July 2023","p":["I've been cutting all day with Final Cut Pro 10.6.7.","This is a fresh job (i.e. not something migrated from 10.6.6), and it has a LOT of third-party Motion Templates, effects, random still images, random videos in a variety of formats, etc.","Unfortunately, whilst I was able to successfully edit, and export without too many dramas, 10.6.7 definitely seems more buggy and unreliable than 10.6.6.","I had to manually quit and restart Final Cut Pro quite a few times throughout the day because the Viewer was just black. Nothing I could do would bring it back to life, apart from a restart.","This is consistent with other professional long-form editors I've chatted to.","After one of the restarts, after applying an cut to an audio clip, and adding a transition, suddenly the Viewer went \"strobing\" - again, requiring another manual restart.","I haven't had any crashes, but it's definitely got... issues.","One major confirmed bug is that Final Cut Pro 10.6.7 doesn't properly respect 0% opacity in Motion Templates. For example, if you apply the Placeholder Generator, it will ALWAYS show the notes:","This could be a deal breaker if you're using a Motion Template that uses this technique to hide things. Luckily none of the Motion Templates I used today had any issues.","It's also worth nothing that Final Cut Pro 10.6.7 (for Mac) uses a newer Library format than Final Cut Pro 1.1 (for iPad).","This means that if you want to use Transfer Toolbox to go from Mac to iPad, you should keep using Final Cut Pro 10.6.6 (for Mac).","My suggestion would be to stick with Final Cut Pro 10.6.6 for now, and wait for another bug fix in a few weeks time.","Chris @ LateNite","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"19th July 2023","p":["Addresses an issue where audio effects would not be reset during playback.","Addresses an issue where clip height adjustments would not update audio-only clips in connected storylines.","Addresses an issue where copying and pasting transform settings would unexpectedly paste clip speed.","Addresses an issue where the color space of a Photo-JPEG source was incorrect when Color space was set to Automatic.","Addresses an issue with keyboard shortcuts not working as expected in the content browser.","Changed the Settings and Locations sidebar to now be resizable when the Inspector is open.","Compressor 4.6.5 is out now with the following enhancements and bug fixes:","Final Cut Pro 10.6.7 is out now with the following bug fixes:","Final Cut Pro for iPad 1.1 is out now with the following bug fixes and enhancements:","Fixes an issue where an Audio Units effect could have incorrect values when importing using FCPXML.","Fixes an issue where an exported IMF supplemental package was one frame shorter than the original package.","Fixes an issue where importing media on a device with no remaining storage would cause Final Cut Pro for iPad to quit unexpectedly.","Fixes an issue where resetting audio settings would unexpectedly reset clip speed.","Fixes an issue where the Control Range setting in the Color Adjustments effect would be incorrectly set to SDR when importing using FCPXML.","Fixes an issue where the Keywords window would open offscreen with the timeline minimized.","Importantly, Final Cut Pro 10.6.7 on Mac uses a newer Library format than Final Cut Pro 1.1 on iPad. This means that if you want to use Transfer Toolbox to go from Mac to iPad, you should keep using Final Cut Pro 10.6.6.","Improves performance when using the Sequence Text behavior with Anchor Point set to Line (in the Layout pane of the Text Inspector).","Improves reliability and performance when dragging a clip from the browser to the timeline.","Improves reliability and performance when using soundtracks and dynamic titles.","Improves reliability when processing 4:2:2-based H.264 media on Mac computers with Apple silicon.","Improves reliability when retiming a clip with Scene Removal Mask applied.","Improves reliability when retiming a clip with the Scene Removal Mask applied.","Improves stability when dragging a group that contains an FxPlug plug-in to the Favorites folder.","Improves stability with FxPlug 4 plug-ins.","Improves visual feedback and reliability when rating and adding keywords to clips while filtering clips in the browser.","Improves visual feedback when adding effects and transitions to timeline clips in Position mode.","Improves waveform redrawing on expanded audio components when adjusting volume with the Touch Bar.","In other news, Logitech has acquired Loupedeck - which is big news for a lot of Final Cut Pro editors who use Loupedeck devices with CommandPost.","Interestingly, this update requires a database update, so there must be some bigger changes under the hood.","Motion 5.6.5 is out now with the following bug fixes:","Move the playhead backward or forward 10 frames using the keyboard shortcuts Shift-Left Arrow and Shift-Right Arrow.","Resolves an issue where disabled multicam audio angles would appear in the audio component list in the inspector.","Resolves an issue where importing clips with the same name would generate blank clip thumbnails.","Resolves an issue where the Voice Isolation Amount slider would snap to 0% when trying to set a value less than 7%.","Resolves an issue with custom fonts not appearing in the inspector.","Resolves an issue with the appearance of onscreen controls for cropping and shape masks.","Scott Simmons has also written his thoughts on the acquisition over at ProVideo Coalition.","Show info for browser clips using the keyboard shortcut Control-I.","Show or hide the jog wheel using the keyboard shortcut Control-Shift-W; expand or collapse it using Control-W.","Split and switch multicam clip angles using the keyboard shortcuts 1, 2, 3, and 4.","Switch the jog wheel between playhead mode and nudge mode using the keyboard shortcut Shift-W.","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com","Turn audio skimming on or off using the keyboard shortcut Shift-S.","Turn skimming on or off using the keyboard shortcut S.","Turn snapping on or off using the keyboard shortcut N.","We're excited to test it out, and see if there's other undocumented fixes and improvements.","You can learn more here."]},{"l":"18th July 2023","p":["Exciting news! Apple has listed Marker Toolbox in their Mac App Store Story, The power of Final Cut Pro in both the Great apps for Final Cut Pro& Workflow Extensions sections! Amazing! Thanks EVERYONE for your on-going support!","PostSync has been updated to Version 1.7.","There's lots of feature improvements and bug fixes. You can find the full list of changes here.","You can learn more here.","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!"]},{"l":"16th July 2023","p":["For those that missed the news back in May, Apple has updated their Apple ProRes RAW White Paper to include information about the all-new plug-in architecture for camera makers.","You can download it as a PDF here.","PetaPixel also has an article that explains it in more detail here.","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"12th July 2023","p":["The amazing Arthur Moore is currently having a sale on his awesome plugins.","Get a 25% discount when you use the code: BADASSFAM25","You can learn more here","BRAW Toolbox v1.3.0 is out now!","It has added support for Panasonic Lumix GH6 Blackmagic RAW clips.","You can learn more here.","CommandPost v1.4.20 is out now!","It has added support for the latest Loupedeck CT hardware. Thanks for reporting Marshall Fife!","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com"]},{"l":"7th July 2023","p":["Ulti.Media Transcriber is out now! We've been beta testing it for a few months now, and it's awesome.","You can learn more and purchase at FxFactory.","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!"]},{"l":"6th July 2023","p":["Dylan John has a great video called STOP doing THESE 10 THINGS in Final Cut Pro!. It's full of lots of great tips!","You can watch on YouTube here:","iZotope is currently running a summer sale!","Without a doubt iZotope RX10 is the very best audio recovery tool on the market - it can do magical things.","You can learn more here.","Ulti.Media Converter 2 now has the ability to save 8-bit .PNG files, which is useful for non-photographic app screenshots.","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"3rd July 2023","p":["We have an awesome new case study on FCP Cafe talking about the 2D animated series, The Future of Everything.","You can read all about the workflow here.","You can watch the series here:","CommandPost v1.4.19 is out now!","We've added actions to control all the parameters for a Colourlab Ai Effect in the Final Cut Pro Video Inspector. Enjoy!","Color Finale is having a Summer Sale! Get in quick!","You can learn more here.","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com"]},{"l":"June"},{"l":"30th June 2023","p":["Marker Toolbox v1.3.0 (14) is out now on the Mac App Store.","New Features:","Added the ability to export Avid Media Composer Marker Text files. Thanks for suggesting Scott Simmons!","Added support for importing the Timecode+ TSV format. Thanks for suggesting pulpjedi!","Improvements:","Various improvements to the user interface. Marker Toolbox now looks a lot nicer!","We moved the OpenAI API key into the Settings panel, and added a \"Validate\" button so that you can check that the API key is valid.","All settings are now saved between the main application and the Final Cut Pro Workflow Extension, meaning that if you change a setting in the Workflow Extension, it will also change in the main application and vice versa.","You can learn more here.","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!"]},{"l":"29th June 2023","p":["Mark at Ripple Training recently interviewed filmmaker Daniel Robert Cohn, discussing how he used Motion to create his music video World Gone Nutz.","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"24th June 2023","p":["We've thrown together a simple Python script called Rename Avid MXF Files.","It's used to rename MXF files generated by Avid Media Composer to match the Package Name in their metadata.","The script can process a single file or a folder containing multiple MXF files.","This is useful if you want to move native Avid MXF files from Avid Media Composer to Final Cut Pro.","You can download and learn more on GitHub.","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com"]},{"l":"22nd June 2023","p":["Adds Resolve EDL Export","Adds support for Frame.io's FIOJSON files","Allows you to apply Markers to Clips from Final Cut Pro","BRAW Toolbox v1.2.1 (53) is out now, with a minor bug fix:","BRAW Toolbox v1.2.2 (54) is out now, with some internal improvements:","BretFX has released a new way to animate lists in Final Cut Pro.","Builder NLE in the Mac App Store is the same app that is available through the membership, but without access to the wider Lumberjack live logging tools. It continues to include unlimited free transcription in 16 languages, closed caption support on Stories, unlimited stories, a comprehensive Keyword Manager, and extremely powerful search and filter tools to get you to your stories faster.","Dominic Carter has reported on Twitter that:","Happy to report that 2 major bugs are fixed in MacOS 14 Sonoma beta 2. XAVC bug is gone (with a few preliminary notes) and qnap qfinder pro is working (for those that edit from NAS)","Just to keep you on your toes...","Marker Toolbox v1.2.0 is out now! It has some awesome new features:","On the anniversary of the release of Apple’s Final Cut Pro X, Lumberjack System has released their Text Based Editing app as a one-off purchase in the Mac App Store.","The original and most complete Text Based Editing solution for Final Cut Pro has long been available as part of the Lumberjack System Membership. This version makes Builder NLE more easily found, and more accessible to Final Cut Pro users who want a complete Text Based Editing environment for Final Cut Pro.","The Workflow Extension now gracefully aborts (instead of crashing), and shows an error message if a BRAW clip is corrupt, and the metadata can't be read. Thanks for reporting Dominik Radecki!","There's a new app on the Mac App Store! Introducing Lumberjack System Builder NLE!","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!","We've added a bunch of additional checks to the FxPlug4 Renderer, to ensure that all objects received from the Blackmagic RAW SDK are valid and correct to avoid any potential crashes due to referencing null pointers. Thanks for reporting Dominik Radecki! Big thanks to the Blackmagic RAW team and Final Cut Pro team for all their help and support!","You can download Builder NLE from the Mac App Store here","You can learn more about Lumberjack Builder here.","You can learn more here."]},{"l":"21st June 2023","p":["Today is Final Cut Pro X's 12th birthday!","You can read more over at Richard Taylor's website.","Philip Hodgetts will also be making an announcement on Richard's Live Stream later today:","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"18th June 2023","p":["Transfer Toolbox v1.0.2 has been released for free on GitHub!","Transfer Toolbox allows you to convert Final Cut Pro (for Mac) Libraries into Final Cut Pro (for iPad) Projects.","You can now easily get from your Desktop to your iPad! Simply drag your existing Final Cut Pro library into the application's drop zone.","You can learn more and download for free here.","The Transfer Toolbox icon was designed by Matthew Skiles.","Russ Hughes has written a great blog post titled: I Ignored Davinci Resolve - I Was Wrong.","It explains why he jumped from Final Cut Pro to DaVinci Resolve for editing, from a sound designers perspective.","You can read here.","For context, for the stuff LateNite does Final Cut Pro is still king, for the simple fact that it’s the most fun and most creative tool to edit with.","DaVinci Resolve is INSANELY powerful, and Blackmagic is a much more friendly company to work with than Apple.","However, I personally feel like I'm an engineer when using Resolve, whereas in Final Cut Pro I feel like an artist.","You can do amazing things in both tools - but Final Cut Pro feels like the better instrument for creative flow.","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com"]},{"l":"17th June 2023","p":["We've added yet another awesome new case study to FCP Cafe on Der Schatten (The Shadow).","You can read more here.","Here's the trailer:","Dylan Bates- The Final Cut Bro- has now reached over 40K YouTube Subscribers, and as a thank you to the Final Cut Pro community, he's offering 40% off all his plugins with the code 40kbro for the next four day!","You can learn more here.","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!"]},{"l":"16th June 2023","p":["We've added an awesome new case study to FCP Cafe on India’s Space Odyssey.","You can read more here.","Here's the trailer:","BRAW Toolbox 1.2.0 (52) is out now!","It has added support for Fujifilm X-S20 Blackmagic RAW clips, and the Blackmagic RAW SDK has been updated from v3.1 to v3.2.","You can download and learn more here.","motionVFX's mLogo Cinematic 2 is out now with limited promo pricing.","You can learn more here.","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"15th June 2023","p":["CommandPost v1.4.18 is out now!","A few new features, and a bunch of bug fixes, especially for those on macOS Ventura.","You can learn more and download here.","Our good friends at fxguide have a great new blog post - Apple M2 Studio Learns Nuke Machine Learning.","The author, Mike Seymour, is one of the smartest and best educators in the entire film industry, period.","You can read more here.","BorisFX has a really interesting new case study on their blog - The Last Of Us: Wylie Co.’s Motion Tracking Journey with Mocha Pro.","MasterClass is currently having a 50% off sale for Fathers Day.","There's lots of great training for filmmakers and video editors.","Jonny Elwyn has some great summaries here:","Master Filmmakers on the Craft of Film Editing","Masterclass All-Access Pass Reviewed","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com"]},{"l":"14th June 2023","p":["As a result, in BRAW Toolbox v1.1.1 we made Create Multicam Clips the default option as a workaround to this issue.","BRAW Toolbox v1.1.4 (51) is now available on the Mac App Store.","Dylan Bates(The Final Cut Bro) has demonstrated the new BorisFX's Continuum Beat Reactor plugin.","Essentially, it's very unusual for an Effect to change the output of a Generator, so we were getting unpredictable results.","FCP Cafe now has a new logo/icon designed by the amazing Matthew Skiles. We hope you like it as much as we do!","He has also designed a new logo/icon for Resolve Cafe, which is equally amazing.","HUGE thank you to Tangier Clarke for supplying a reproducible library to help us solve this annoying bug.","Previously, Synchronised Clips could cause random glitches during playback, and produce unexpected results in some, but not all, cases.","Thanks to the help and support of the awesome Final Cut Pro team, we finally have a workaround to the Synchronised Clips bug.","To fix Synchronized Clips created in earlier versions of BRAW Toolbox, we've added a Repair Synchronized Clips (prior to v1.1.3) Toolbox, which will add keyframes to all your Generators within the BRAW Toolbox Clip.","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!","We now know this was actually due to the fact that we're applying the BRAW Toolbox effect to a Custom Solids Generator.","We now workaround this issue by simply applying keyframes to the Custom Solid, so that Final Cut Pro always renders the frames - simple, but effective.","We'll leave Create Multicam Clips on by default, however you will no longer get a warning message when you toggle this preference.","We've just added an amazingly detailed case study for Blood & Gold. Check it out here!","Whilst Final Cut Pro worked correctly when scrubbing and skimming a clip, during playback, because the Custom generator normally doesn't change its output (i.e. it's always a static colour), Final Cut Pro was using a cached frame, rather than rendering a new frame, which caused the glitches.","You can learn more here."]},{"l":"13th June 2023","p":["FCP Cafe has been slowly growing and expanding, and professional film & television editors from all around the world start making contributions!","If you haven't already checked out the Cut on Final Cut Pro page, it's worth a visit!","The amazing Philip Hodgetts from Intelligent Assistance has written an excellent blog post on Generative AI Devalues Experience here.","A great new YouTube channel called Lukes Got Brains has started posting some really interesting videos about on-screen controls and rigging in Motion & Final Cut Pro.","evrExpanse 3.3.1 is out now with Rating Metadata support, allowing you to easily evaluate and organise video quality.","You can learn more here","Andy To challenged himself to produce a video shot and edited on Final Cut Pro for iPad.","Alex Raccuglia at Ulti.Media is getting closer and closer to finally releasing Transcriber to the world!","Here's another sneak peak - explaining how to import subtitles into existing sessions:","There's an interesting article over at arstechnica:","“Clearly predatory”: Western Digital sparks panic, anger for age-shaming HDDs","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"10th June 2023","p":["The amazing Iain Anderson has released a new free online training course for Final Cut Pro for iPad.","You can learn more here.","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com"]},{"l":"9th June 2023","p":["We're currently in the process of completely rebuilding the CommandPost website to bring it more inline with this website, and all our other software packages.","This will allow us to add better documentation more quickly - especially developer documentation. We'll also release a new CommandPost update within the next few days, so stay tuned!","At WWDC Apple has announced/released a new MediaExtension Framework, which is BIG NEWS for Mac users! We haven't had custom codec support since Apple killed QuickTime many years ago.","This framework provides a means for developers to create format readers and video decoders for media that the system doesn’t natively support.","This means that for macOS Sonoma, we'll be able to add native Blackmagic BRAW support directly to macOS!","We intend to add this as a feature to BRAW Toolbox for the public release of macOS Sonoma, so stay tuned!","Premium VFX are having an Anniversary Discount Sale, with all their Final Cut Pro products 35% off until June 16.","You can learn more here.","Do you need third party plugins for background removal, morph transitions, color correction and noise removal, or does Final Cut Pro have you covered? Today, Jenn Jager is doing a head to head challenge to see if third party plugins work better than native FCP effects.","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!"]},{"l":"8th June 2023","p":["Matti Haapoja has reported on Twitter that:","...editing in Final Cut Pro in AR will be available for launch \uD83D\uDC40 editing with eyes and gestures. We freaking finally get to edit minority report styles.","You can read more over at AppleInsider.","Michael Kammes has also written a great article on Empowering Creatives: The Future of Creativity and Collaboration in the M&E Industry.","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"7th June 2023","p":["To My Father is a Short Documentary Film edited in Final Cut Pro that premieres this week at the Tribeca Film Festival in New York City.","The movie depicts Deaf actor Troy Kotsur's journey to winning an Oscar and his father's inspiring influence on him, despite a tragic accident.","Troy previously won the Best Supporting Actor Oscar for his role in Apple TV’s CODA.","Josh Meyers, the film’s editor, had previously presented this project as a work in progress as part of his Keynote Presentation at the 2022 FCPX Summit in Austin, Texas.","Josh and the team at Emergent Order Foundation has truly enjoyed collaborating with Troy and hope people can come out to support the film if you’re in town!","Screening:","To My Father will be screening 4 times at the festival as part of the Shorts program.","Thursday June 8th @ 8:15pm Friday June 9th @ 2:30pm Wednesday June 14th @ 6:00pm Saturday June 17th @ 3:30pm","There's more information on the Tribeca Schedule and Tickets Page.","It is also available for streaming with the Tribeca At Home pass.","Credits:","Director: Sean Schiavolin Producers: John Papola, Troy Kotsur, Justin Bergeron Screenwriter: Sean Schiavolin Cinematographer: Brody Carmichael Editor: Josh Meyers Composer: Hanan Townshend Associate Producer: Jessi Bennett","Trailer:","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com"]},{"l":"6th June 2023","p":["Below are some of the relevant highlights for Final Cut Pro editors.","BRAW Toolbox v1.1.3 is out now with a re-designed Relink BRAW Clips within an LIBRARY / EVENT / PROJECT Toolbox!","DaVinci Resolve will run on Vision Pro out-of-the-box. No word yet on Final Cut Pro support.","First up, the new Mac Pro:","Here's a 17 big & little things at WWDC23.","Iain Anderson has also written Apple Vision Pro revealed at WWDC over at ProVideo Coalition.","It's USD$3499 and \"available early next year in the U.S\".","NeoFinder 8.4.1 is another free update for all customers with a NeoFinder 8.x license.","NeoFinder 8.4.1 is out now. This is a bugfix release that contains two fixes for the Smart Folders, and one fix when searching hierarchical keywords.","NeoFinder 8.x is a paid upgrade for NeoFinder 6.x, NeoFinder 7.x, and CDFinder customers.","Premiere Gal is giving away USD$10,000 worth of Video Gear!","Purchase a Ninja V, Ninja V+, Shogun Connect, Sumo 19SE or Shogun Studio 2 before the end of June 2023 to receive a FREE Assimilate Play Pro Studio license worth US$299 when registering your product. Existing registered owners quality for an exclusive price of USD$99.","There's the new 15-inch MacBook Air:","There's the new M2 Ultra.","There's the new macOS Sonoma:","There's the new Vision Pro.","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!","WWDC time!","You can buy BRAW Toolbox and learn more here.","You can learn more about the new MacPro here.","You can learn more about the toolbox here.","You can learn more about Vision Pro here.","You can learn more here.","You can watch the entire WWDC Keynote here."]},{"l":"5th June 2023","p":["We've added some information from the editor, and lots of Final Cut Pro screenshots to our Turn of the Tide case study. Enjoy!","It's a month old, but for those that might have missed it, there's an awesome YouTube video that showcases the Audio Design Desk v2.0 Beta.","Audio Design Desk is to audio software what Pro Tools was to the tape machine. It’s an entirely new breed of Digital Audio Workstation that artists can play like an instrument, revolutionizing the process of adding music and sound effects to picture and cutting down what can typically be a full day project to just a few minutes. It comes bundled with 75,000 sounds embedded with patent-pending Sonic Intelligence™, using AI-assisted content creation tools to enable filmmakers, sound designers, composers, and creators to produce cinema-quality compositions at the speed of thought, giving them a level of creative control that is unmatched by any other software.","You can learn more about Audio Design Desk here.","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"3rd June 2023","p":["80 drag-and-drop presets","8mm film stock, bleach by-pass, and day for night looks","Award-Winning Mocha tracking through Pixel Chooser: Quickly mask & isolate effects","BCC+ Looks Includes:","BorisFX is giving away their free Continuum FCPX Looks filter!","Chris @ LateNite","Custom FX Editor: Browse and apply presets in seconds","Diffusion, color gradients, and lighting gels","FCPeffects.com is celebrating 12 years making plugins for Final Cut Pro!","Fully customizable: Easily adjust hue-sat, brightness, contrast, grain, and more","Get all of their plugins in an easy to install package with the Mega Bundle. I've just pressed the buy button!","I proposed creating avid.cafe and premiere.cafe/ premierepro.cafe on some big Facebook Communities and my posts were pretty quickly removed.","It's been so incredibly exciting watching all the professional editors contributing to this site via GitHub (check out these closed pull requests!).","Meanwhile, the Final Cut Pro community has fully embraced my crazy spur-of-the-moment idea, and gone full steam ahead - love it!","Thanks team!","They just need to HURRY UP and give us native mocha Pro support within Final Cut Pro! In the meantime, this is great...","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com","We've been using mocha Pro for years, and love it dearly - so are always excited by what BorisFX have in-store!"]},{"l":"2nd June 2023","p":["1 Assistant Editor","174 shifts of editing","3 Film Editors ( Florian Duffe, Silke Botsch & Martin Wunschick)","3500 Audio Clips","3946 Video Clips","89 hours of footage","CommandPost- using Titles to Keywords for line-by-lines","Commentary Head of Editing:","Der Schatten(The Shadow) is streaming tomorrow on German public broadcaster ZDFneo.","Editing a TV show in Final Cut is a charm if you set it up right. Especially with the new MacStudio and fast SSDs we could fly through the tons of footage. Postlab provides the necessary tools to collaborate between different workstations. Since we had a lot of Flashbacks, the structure of FCP - editing every Scene in a Compound Clip - made it really easy to 'steal' edits of another episode from our fellow editors. I will follow up with a decent case study on this site in a few days. Stay tuned.","Final Cut Pro v1.0.1 for iPad is out now!","Fixes an issue where the validation of third-party Audio Unit Extensions prevented Final Cut Pro for iPad from opening.","Florian Duffe writes:","Fun Stats:","It's a 6 x 45min mystery series cut in Final Cut Pro, based on a novel by Melanie Raabe.","Notion- to build a digital bulletin board, one scene one card","Picture Lock Timelines of all 6 Episodes Final Cut Pro Screenshots","Poster:","PostLab- collaborating in 6 libraries on 4 workstations in 3 cities","Producers Best Friend- creating lists (ADR, VFX, Music, DI, Motion Design)","Screenshots:","Sync-N-Link- creating Sync Clips with Metadata","The journalist Norah (Deleila Piasko / Transatlantic) moves from Berlin to Vienna to start a new life and job at a young & arty magazine. As soon as she arrives, a homeless woman foretells her that she will kill a man named Arthur Grimm six weeks later. Norah tries to ignore the incident - until strange things happen.","The only change according the the release notes is:","The Transfer Toolbox website has some information on the danger of using external drives on iPad.","Tools Used:","Trailer:","Ulti.media has released a new Transcriber Promo on YouTube. Chris at LateNite has been beta testing, and it's awesome.","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!","X2Pro- send Audio to Soundpost","You can find the release note on FCP Cafe. We'll update that page if we find anything undocumented.","You can learn more here.","You can watch the trailer here."]},{"l":"1st June 2023","p":["Alteon.io has announced that Brian Meaney will now be their new Head of Product. He brings more than two decades of experience from Apple and Magic Leap. Brian will direct product development and UX for their entire ecosystem.","This is very exciting for Final Cut Pro users - as Alteon is very committed to the Final Cut Pro ecosystem! You can learn more here.","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"May"},{"l":"31st May 2023","p":["Colourlab Ai is having a Spring Flash Sale! Up to 50% Off on Our Color Grading Software - Only 48 Hours Left!","Spring is in the air, and so are the savings!","Here's what's on offer:","Colourlab Ai Studio Annual License: Get a whopping 50% off on their Colourlab Ai Studio Annual License. This brings the cost of Colourlab Ai, Look Designer Plugin, and Grainlab Plugin down to just $249. That's less than the cost of a single plugin! Considering the combined value of all three applications is over $1000, this is a massive saving. Use the code springstudio50 to take advantage of this offer. Look Designer Perpetual Licenses: Colourlab Ai is offering a 30% discount on their Look Designer Perpetual Licenses. This means you can own Look Designer forever for just $349. Look Designer 3.0 for Davinci and Premiere runs on both Mac and PC and is the perfect companion for creating X01 files, Look Design, Look Testing, EL Zones, and Full Color Management. Use the code springlook30 to avail this offer.","Buy Colourlab Ai Studio here.","Buy Look Designer Perpetual here.","A new batch of nOb controllers is now available! You can order here.","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com"]},{"l":"30th May 2023","p":["We're currently experimenting with adding Discussions & Reactions to the bottom of every page at FCP Cafe - that tie into GitHub Discussions. You'll need a free GitHub account to comment and react.","We're still working on the formatting - they're currently a bit \"buggy\" in terms of automatically resizing, and sometimes require a hard page reset to appear properly. We're investigating a proper fix - stay tuned.","Recall Toolbox is now available for early beta testing on TestFlight.","Recall Toolbox is a Final Cut Pro Workflow Extension that acts as a Shared Pasteboard.","Anything that you can copy and paste in Final Cut Pro, Recall Toolbox can store.","Chris at LateNite has decided to put the Final Cut Pro & DaVinci Resolve Communities literally head-to-head by introducing Resolve Cafe. Let's see which community is more proactive in sharing awesome content!","MotionVFX is having a 50% Flash Sale on selected products.","They've also released a nice new package called mProduct.","AudioSwift 2.3.5 Beta with 14-bit MIDI CC is now available.","AudioSwift for macOS transforms your trackpad into a set of MIDI tools like sliders, triggers, XY pads, mixing controllers and MPE. With support for MacBooks and Magic Trackpads, the app runs in the top menu bar waiting to be called. Tap the trackpad with a four fingers tap gesture to activate and a console window appears showing the current controller mode. You can then start sending MIDI with simple touch gestures and when you finish, press the Esc key to turn AudioSwift off. It’s the perfect compact MIDI controller for the mobile or desktop producer.","AudioSwift works great in companion with CommandPost via MIDI for controlling Final Cut Pro.","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!"]},{"l":"29th May 2023","p":["Color Finale 2.6.6 has been released to fix support for Final Cut Pro 10.6.6.","Only install Color Finale 2.6.6 after updating to Final Cut Pro 10.6.6. The plugin won’t work otherwise.","If you are on Color Finale 2.6.5, update by launching ColorFinale.app and navigating to ColorFinale > Check For Updates… in the menu bar.","You can learn more on their website.","Chris at LateNite has updated the pricing for BRAW Toolbox, Gyroflow Toolbox& Marker Toolbox.","BRAW Toolbox is now 79.99 in your local currency (i.e. AUD79.99, USD79.99, CAD79.99).","Marker Toolbox is now 19.99 in your local currency (i.e. AUD19.99, USD19.99, CAD19.99).","Gyroflow Toolbox is now 4.99 in your local currency (i.e. AUD4.99, USD4.99, CAD4.99).","Their upcoming apps will have the same pricing model:","Recall Toolbox is now 29.99 in your local currency (i.e. AUD29.99, USD29.99, CAD29.99).","Transfer Toolbox is now 4.99 in your local currency (i.e. AUD4.99, USD4.99, CAD4.99).","However, for example, if your country doesn't have an equivalent of 4.99 (i.e. Rp89,000 in Indonesia), it will default to a USD$4.99 equivalent.","Transfer Toolbox is currently waiting for approval on the Mac App Store, but you can download from TestFlight.","Recall Toolbox is currently on TestFlight, and will hopefully be submitted to the Mac App Store by the end of this week for review.","Recall Toolbox is now available on TestFlight as an early beta!"]},{"l":"28th May 2023","p":["We've recently reported two annoying Final Cut Pro 10.6.6 bugs to be across:","FCPXML v1.11 doesn't support Soundtracks (May 28, 2023)","Audio Presets don't migrate from earlier versions to v10.6.6 (May 27, 2023)","We've reported them to Apple, and will keep track of them in our Bug Tracker.","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com"]},{"l":"27th May 2023","p":["Hedge are on the lookout for passionate beta users to help shape the future of Hedge products (like Hedge, PostLab& EditReady). If you think you have what it takes and would like to join, sign up here.","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!"]},{"l":"26th May 2023","p":["Blood & Gold premieres today on Netflix. Fully edited in Final Cut Pro.","Chris at LateNite has also announced Transfer Toolbox on Twitter, allowing you to convert Final Cut Pro (for Mac) libraries into Final Cut Pro (for iPad) projects.","Created by Augusto de Fraga. Edited by Marcos Castiel (Ep's 1, 2, 5 & 7) and Pedro Ribeiro (Ep's 3, 4 & 6).","Dylan Bates - The Complete Guide to Final Cut Pro on iPad (53mins)","Edited by Knut Hake.","Everyone's talking about Final Cut Pro for iPad.","FCPXMLs were sent to DaVinci Resolve for colour grading and X2Pro was used to send AAFs to ProTools for mixing. The sound designer was very impressed with the neatness of the timeline.","He also discovered that Final Cut Pro (for iPad) can actually read files from an external SSD.","Here's a collection of some of the great Final Cut Pro (for iPad) YouTube videos:","iJustine - Final Cut Pro on iPad Review - Forget everything you know about editing (13mins)","PetaPixel - Final Cut Pro for iPad Review: It FINALLY Happened! (12mins)","Recall Toolbox is now available on TestFlight as an early beta!","Ripple Training - Final Cut Pro for iPad Getting Started (39mins)","Sex O'Clock premieres today in Czechia. Episodes 3, 6, 9 and 10 was cut in Final Cut Pro by Jiří Fiala(the other episodes were cut in Adobe Premiere).","Six Colors - Hands on with Final Cut Pro for iPad (32mins)","The Verge - Final Cut Pro for iPad review: still rendering (10mins)","Turn of the Tide premiered today on Netflix. Fully edited in Final Cut Pro.","Tyler Stalman - Final Cut Pro for iPad: Guide & Review (16mins)","You can read the full case study here."]},{"l":"23rd May 2023","p":["Iain Anderson has written a very detailed Final Cut Pro 10.6.6 blog post over at Pro Video Coalition.","Tight. Terse. Terrific. Bim. Bam. Boom.– Cut/daily reader Post Production insight delivered to your inbox. Sign up for free at Cut/daily.com","Want to contribute or advertise? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"LateNite Technology","p":["This website has been thrown together by Chris Hocking at LateNite.","Constantly looking for ways to innovate, LateNite is as passionate about production and post production as it is storytelling. Their pursuit of creative excellence has seen them work closely with global cinematic technology companies to craft post workflow solutions and critically celebrated software in-house."]},{"l":"In Development","p":["Here's a sneak peak of some of the things we have in development.","Exact shipping dates may vary, as all these ideas are still in active development, and subject to things like TestFlight & App Store approval, etc."]},{"l":"Timecode Toolbox","p":["ETA: July 2023","We're spinning out the Sony Timecode Repair Toolbox from CommandPost and making it a standalone app.","In addition to the current functionality, you'll also be able to modify the original camera files to add Final Cut Pro friendly timecode."]},{"l":"Metadata Toolbox","p":["ETA: August 2023","Metadata Toolbox is a Workflow Extension that allows you to drag in a project, select burn-in metadata options, then drag a Compound Clip back to the timeline with all the metadata as titles."]},{"l":"RAW Toolbox","p":["ETA: September 2023","Following in the footsteps of BRAW Toolbox, RAW Toolbox will initially add Nikon N-RAW support to Final Cut Pro."]},{"l":"Import Toolbox","p":["ETA: October 2023","Import Toolbox will be a Workflow Extension that allows you to import files with better metadata and preset controls (i.e. clip volume).","We will also be spinning out the Watch Folders from CommandPost and moving them into this app."]},{"l":"Assistant Toolbox","p":["ETA: November 2023","Assistant Toolbox will be a Workflow Extension that spins out Titles to Keywords and Auto Sequence from CommandPost.","It'll include various improvements and enhancements to make the job even easier for Assistant Editors working on long-form feature film projects."]},{"l":"Magic Toolbox","p":["ETA: December 2023","Magic Toolbox is our first Machine Learning experiment.","You'll be able to add titles to the timeline, to trigger Machine Learning actions such as:","SUBTITLES- Analyses the audio and adds subtitles","NARRATION- Turns text into speech in a narration tone","VOICE- Turns text into speech based on your description","GRADE- Adds Color Effects based on your description","MUSIC- Adds stock music or machine learning generated music based on your description","SFX- Adds sound effects from places like FreeSound.org","VIDEO- Adds machine learning generated video based on your description","Magic Toolbox will use existing services like ChatGPT and ElevenLabs- and it'll be BYO API Key."]},{"l":"TestFlight","p":["Here's some of our projects still in active development, awaiting Mac App Store approval:"]},{"l":"Recall Toolbox","p":["Recall Toolbox is a Final Cut Pro Workflow Extension that acts as a Shared Pasteboard.","Anything that you can copy and paste in Final Cut Pro, Recall Toolbox can store."]},{"l":"Build for Final Cut Pro","p":["There are third party tools like the amazing Copy 'Em ​(for Mac), but they're not quite as visual as Recall Toolbox, and they're not built from the ground up for Final Cut Pro users.","Recall Toolbox works as a Final Cut Pro Workflow Extension, so it's window position gets saved with your custom Workspaces.","Whilst CommandPost has had a Shared Pasteboard & Pasteboard Buffers for years, it's really optimised for Control Surfaces. You can access the Shared Pasteboard from the CommandPost menubar, and it is super powerful, but it's not as visual - you just get text, not a fully customisable thumbnail.","Recall Toolbox feels like a natural extension to Final Cut Pro, with a similar look and feel to Final Cut Pro's Effects Browser."]},{"l":"iCloud Sync","p":["Recall Toolbox automatically syncs to ALL your devices on the same iCloud account automagically!"]},{"l":"iCloud Sharing","p":["You can share folders with other iCloud users, and control permissions. For example, you could have a \"read only\" folder that contains client logos for a current job!"]},{"l":"Free Apps","p":["Here's some of our free tools used by professional editors worldwide:"]},{"l":"CommandPost","p":["CommandPost is a free and open source macOS application that bridges between control surfaces and software that doesn’t support them natively, such as Apple’s Final Cut Pro and Adobe’s After Effects.","It’s been downloaded over 163 thousand times, and there are over 2.6 thousands members in our Facebook Community.","It’s been translated into Arabic, Bengali, Catalan, Chinese (Simplified & Traditional), Danish, Dutch, French, German, Greek, Hindi, Hungarian, Italian, Japanese, Korean, Malayalam, Norwegian, Panjabi/Punjabi, Polish, Portuguese, Russian, Spanish, Swedish, Ukrainian & Vietnamese by our awesome community.","It’s used by filmmakers, developers, scientists and macOS power users all over the world to seriously speed up mundane tasks through powerful and customisable automation tools.","For example, you can apply individual effects within Final Cut Pro or After Effects with the single tap of a button.","Powered by Lua(the same scripting language used by Blackmagic Fusion, Adobe Lightroom and even parts of Apple iOS), it's insanely customisable and powerful.","It runs natively on Apple Silicon and is fully compatible with Hammerspoon.","You can listen to Chris explain CommandPost on Final Cut Pro Radio Episode #57 and Episode #43."]},{"l":"User Quotes","p":["“ Titles to Keywords is a huge timesaver when editing complex scenes. Couldn’t live without it anymore. And directors love that every delivery of any line from any take is just one click away! ” Knut Hake- Editor on Netflix's Blood Red Sky","“ CommandPost and FCP are so intertwined on my day to day that I see them as one app! ” Marcos Castiel BFE- Editor on Netflix's Turn of the Tide","“ Command Post started as a FCPX utility but it goes further than that. You can use it to map almost any function to supported hardware devices to work with any app like a BMD Speed Editor and Avid Media Composer! ” Marc Bach- Editor & Colourist","“ Chris's support is the best you will find anywhere on the planet. He was proactive and able to implement features for me on the spot. 5 STAR product 5 STAR support. ControllerMate is what I used to use. CommandPost is faster and easier. ” Ross Batten- Senior Sound Designer (ProTools)","“ Search Console is like Spotlight on steroids. It can quickly find and execute any obscure command, NLE and OS-wide, fire up keyboard makros (scripts), and especially, find and place Effects and Effect Templates, directly onto selected clips in my FCP timeline. It constantly saves me clicks. ” Florian Duffe- Editor","“ CommandPost is so many things for so many people. For me it is a Final Cut Pro automation system that unlocks hidden features and uniquely supports advanced workflows. CommandPost’s secret weapon? Deep connections with the postproduction community which mean that it constantly improves as the needs of editors and post professionals evolve. ” Alex ‘4D’ Gollner- Motion Template Creator","“ Chris, you have no idea how helpful your Titles to Keywords toolbox has been on our latest production. Without the toolbox these 2-3 hour long timelines (around 900 keywords) would have been nearly impossible to tag with the FCP built in way. It's very long scenes with around 50 lines of text for all characters. ” Sam Pluemacher- Assistant Editor on Netflix's Blood Red Sky","“ As someone who doesn’t like clicking to do things, CommandPost makes my work much more likeable! ” Oli Frost- Editor","“ CommandPost supports my Loupedeck, Stream Deck and Razer devices with advanced Final Cut Pro integrations. Eliminating the need for multiple apps and reducing complexity. ” Sam Pluemacher- Assistant Editor on Netflix's Blood Red Sky","“ CommandPost is the first thing you should install If you like to tinker. This genius app extends Final Cut Pro in all kinds of ways, enabling advanced workflows, automation, and even integration with external hardware such as MIDI controllers. Recommended. ” Iain Anderson- Author of Final Cut Pro Efficient Editing"]},{"l":"Transfer Toolbox","p":["Transfer Toolbox allows you to convert Final Cut Pro (for Mac) libraries into Final Cut Pro (for iPad) projects!","You can now easily get from your Desktop to your iPad! Simply drag your existing Final Cut Pro library into the application's drop zone.","You should ensure your library only has a single event, and all project timecode starts at 00:00:00:00.","All Motion Content and Media should be contained within the Library.","If you have custom fonts on the Mac Final Cut Pro library, you should manually install them on the iPad before importing the project.","Transfer Toolbox requires Final Cut Pro 10.6.6 or later."]},{"l":"App Store","p":["Here's some of our products currently for sale on the Mac App Store:"]},{"l":"BRAW Toolbox","p":["BRAW Toolbox allows you to import Blackmagic RAW files directly into Final Cut Pro without transcoding.","No more waiting. No more transcoding. No more massive ProRes files.","Save hours of time, and terabytes of storage!","The BRAW Toolbox Workflow Extension allows you to prepare all of your footage prior to import. You can easily and quickly change all the RAW parameters, and copy and paste settings from different BRAW clips. You can even save and restore Presets that contain specific parameters, saving time for example, if you always use the same Gamut & Gamma.","Once imported into Final Cut Pro, you can still modify the RAW parameters at any time.","You can even keyframe the ISO, Exposure, Color Temp, Tint and Custom Gamma Controls!","BRAW Toolbox comes with a Metadata View that allows you to view every piece of BRAW Metadata directly within the Final Cut Pro Inspector.","There are automatic Decode Quality options for both HD and UltraHD projects, and you can also work at a low Decode Quality, then apply a \"Global Setting\" to force Full Quality prior to exporting - meaning you never have to worry about creating proxies for performance. BRAW Toolbox gives you complete freedom and flexibility.","You can also use the Workflow Extension to send your project/timeline to DaVinci Resolve for grading - all using BRAW files directly from the camera!","BRAW Toolbox requires Final Cut Pro 10.6.5 or later."]},{"l":"User Reviews","p":["This developer did what Apple Couldn't/Wouldn't This app is a great solution to a common problem Final Cut Pro users have: getting Blackmagic Raw footage into the app. At first it might seem like a bizarre workaround, but you only have to go through the process of setting it up once, and then you can easily import your Blackmagic footage right into FCP. Honestly, from that point on it works so incredibly well that I really struggle to understand why Apple has made it so difficult. Except it's not difficult, not anymore. This is great software: a small developer solving a problem that a big one (Apple) can't. That's innovation, my friends.","moosefuel – Feb 3, 2023 (Apple App Store Review)","The tool we have dreamed of is here. For lovers of Final Cut Pro who have struggled with the endless BRAW proxy XML loop, this is a dream come true. BRAW natively inside Final Cut. Controls for RAW adjustments at your fingertips. Is it the full Resolve interface? No, doesnt need to be, Between BRAW ToolBox and FCP, most edits can be done natively without ever having the leave the Final Cut NLE. If you shoot any BRAW camera, this is the best of both worlds if you live in the FCP ecosystem. Thank you latenightfilms team for this, its a huge step forward and a wonderful plugin.","Chasing Photography – May 16, 2023 (Apple App Store Review)","Perfect! Just perfect.","Viaswage – Feb 18, 2023 (Apple App Store Review)","Great! Love this! thank you!","NarimanGafurov – Feb 6, 2023 (Apple App Store Review)","UMMMMMM THANK YOU, YOU'RE A GENIUS I've needed this for years!!!!!! You are a genius and this is incredible!!! Thank you so much!!! No clue how BM never made this.","gordonfromvan – Feb 4, 2023 (Apple App Store Review)","I've been waiting for this! I can finally use my two Blackmagic cameras and shoot in BRAW. As a Final Cut Pro editor, I'm really excited. The app is working great! I really appreciate the team at LateNite for all the hard work it took to get this up and running. Well worth the money to be able to handle BRAW seamlessly. Scott_Hartman – Feb 2, 2023 (Apple App Store Review)","Boom! Such an amazing plugin and works fantastic! Grant Digital Sky – Feb 2, 2023 (Apple App Store Review)","Absolutely Amazing. Solves a massive problem and works beautifully! Jmurphy8503 – Jan 31, 2023 (Apple App Store Review)","The impossible made possible. Amazing to work natively with BRAW in my favourite editor. Thank you! MadMitch1993 – Jan 30, 2023 (Apple App Store Review)"]},{"l":"Gyroflow Toolbox","p":["Gyroflow Toolbox allows you to import Gyroflow Projects into Final Cut Pro.","Gyroflow is a free and open source third-party application that can stabilise your video by using motion data from a gyroscope and optionally an accelerometer. Modern cameras record that data internally (GoPro, Sony, Insta360 etc), and Gyroflow stabilizes the captured footage precisely by using them. It can also use gyro data from an external source (eg. from Betaflight blackbox).","Gyroflow Toolbox allows you to take the stabilised data from Gyroflow and use it within Final Cut Pro as an effect, so you don't have to export a ProRes from Gyroflow!","You can even use this in conjunction with BRAW Toolbox (also on the App Store), to stabilise Blackmagic RAW files!","None of this would be possible without the incredible Gyroflow project and the incredibly help and support from their main developer, AdrianEddy."]},{"i":"user-reviews-1","l":"User Reviews","p":["Nice product! Thank you Chris!","NarimanGafurov – Feb 6, 2023 (Apple App Store Review)","The Best Way to Stabilize Pro Res RAW I record both internally and externally with an Atomos Ninja, on my FX3 with the end goal of delivering HDR. I record internal to capture Gyroscopic data that my FX3 records. This allows me to Use GryoFlow, and Thus GryoFlow Toolbox to stabilize Pro Res RAW footage. This tool has made it possible, and works awesomely. I highly recommend this tool it will help immensely.","Tydar94 – Jan 27, 2023 (Apple App Store Review)"]},{"l":"Marker Toolbox","p":["Marker Toolbox allows you to import Vimeo CSV, Wipster CSV, Dropbox Replay JSON & Email Comments into Apple's Final Cut Pro via a handy Workflow Extension.","You can also OPTIONALLY use OpenAI's ChatGPT to help translate email comments into markers using your own personal OpenAI API key!","If you use Vimeo Review pages or Wipster to share video edits with clients to consolidate feedback, you can simply export a CSV file from Vimeo or Wipster, and drag it into the Workflow Extension to convert the comments into Markers within Final Cut Pro. It's fast and easy!","Dropbox Replay works exactly the same way, except Marker Toolbox will also import any drawn annotations!","Similar to Frame.io's Workflow Extension, the markers come in as a Compound Clip, that you can then \"break apart\" so that the markers are attached to the clips in your Primary Storyline, meaning that your clients comments stay in the correct position as you make revisions to the edit. For each marker, there's also a title, so that you can easily visually see the comments right in your Viewer - this is great if you need to export an edit with all your client feedback \"burnt\" into the export.","Replies and the date the comment was added can be included in the Marker names. It also takes \"resolved\" comments in Vimeo, Wipster & Dropbox Replay, and marks them as \"completed\" in Final Cut Pro!","You can also easily copy and paste client feedback from emails into the Workflow Extension. In most cases, you can use the \"Process Comments Locally\" button to use a custom-built algorithm that converts each line of text into a comment. However, you can also the power of OpenAI's ChatGPT to help translate more complicated feedback into markers. You can customise the ChatGPT prompt, and also pick the ChatGPT Model. You supply your own OpenAI API key, giving you full control.","This can be a MASSIVE time saver, as you can simply copy and paste a long list of email comments, and ChatGPT will do the work to convert them into easy-to-read Final Cut Pro markers, that you can then easily navigate via the Timeline Index.","Marker Toolbox requires Final Cut Pro 10.6.5 or later."]},{"i":"user-reviews-2","l":"User Reviews","p":["I’ve been absolutely flatout while working in Thailand. Wipsters has been been great, helping me manage projects and reviewers across four countries. Stoked Marker Toolbox can send Wipster notes straight into #fcpx","Alister Robbie via Twitter","Excellent addition to FCP This is a great tool. I have my clients make notes on Vimeo, and Marker Toolbox lets me download a .csv of those comments and create markers on the FCP project/timeline at the proper locations, with notes visible and that will follow the clips as I move them. Once downloaded and installed it's easy. Downloading the .csv and running it through Marker Toolbox and adding the Markers to the project/timeline takes less than a minute, then you're ready to go. Really great find!","Robert heinlein's son – May 31, 2023 (Apple App Store Review)","Amazing simple I wanted an app like this since I started editing. Now for the first time I can process the comments I get via an e-mail on an edit from the start and not, as I usualy do, begin at the end of the edit and work backwards.","Blazy – Apr 6, 2023 (Apple App Store Review)"]},{"l":"Discuss this page"}],[{"i":"new-to-final-cut-pro","l":"New to Final Cut Pro?","p":["If you're brand new to Final Cut Pro for Mac or Final Cut Pro for iPad- this is the place for you!"]},{"l":"Apple White Papers","p":["Here's a collection of official Apple White Papers to help people transition from Final Cut Pro 7 to Final Cut Pro X:","Final Cut Pro X for Final Cut Pro 7 Editors (October 2019)","Final Cut Pro X for Final Cut Pro 7 Editors (September 2011)"]},{"l":"Ripple Training","p":["Steve delivers a full 58 minute FCP class for beginners that includes the media for following along with him in FCP.","Download the media here."]},{"l":"Thomas Grove Carter","p":["Thomas Grove Carter is a commercials, music video and film editor who cuts out of Trim Editing in London. He's awesome.","He has an incredible YouTube series called FCP FTW that show bite-size examples of how to get the most out of Final Cut Pro."]},{"l":"Tyler Stalman","p":["Tyler Stalman has a great 22 minute video called, Getting Started with Final Cut Pro: Beginners Tutorial."]},{"l":"MotionVFX FCP Academy","p":["Get the best tips & tricks, step up your editing game, and unleash the full potential of your creativity."]},{"i":"cinematographers-guide-to-showreels-in-final-cut-pro","l":"Cinematographer's Guide to Showreels in Final Cut Pro","p":["Whether you're doing your own showreel or preparing the files to send to an editor, ACS Member and Certified Final Cut Pro Trainer, Lee Herbet explains step by step how to use Final Cut Pro to manage the process easily from a cinematographer's point of view.","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Cut on Final Cut Pro","p":["This page is dedicated to listing all the amazing projects cut on Final Cut Pro.","If there's something missing, please let us know."]},{"l":"Success Stories","p":["Luis Fonsi - Despacito ft. Daddy Yankee (2017) - 8,181,158,261 views on YouTube","Neighbours: Erinsborough High (2019) - Cut, Graded & Sound Mixed in FCPX","O Shaolin do Sertão (2016) - First Brazilian feature edited on Final Cut Pro X"]},{"i":"awards--nominations","l":"Awards & Nominations","p":["Autobiography (2022) - Venice Film Festival FIPRESCI Award for Best Film and World Film Festival of Bangkok for Best Technical Achievement in Editing - Carlo Francisco Manatad","Tina Mobil (2021) - Grimme Preis for best television series","Photocopier (2021) - 12 Festival Film Indonesia Citra Awards including Best Editing and Best Film","Parasite (2019) - Academy Award Nominee for Best Editing – Yang Jin-mo","The Girl with the Dragon Tattoo (2011) - Academy Award for Best Editing – Kirk Baxter & Angus Wall","The Social Network (2010) - Academy Award Winner for Best Editing – Kirk Baxter & Angus Wall","The Curious Case of Benjamin Button (2008) - Academy Award Nominee for Best Editing - Kirk Baxter & Angus Wall","No Country for Old Men (2007) - Academy Award Nominee for Best Editing – Roderick Jaynes","Cold Mountain (2003) - Academy Award Nominee for Best Editing – Walter Murch"]},{"l":"Filmmakers using Final Cut Pro","p":["Clayton Jacobson","Guy Pearce","Simon Wincer"]},{"l":"YouTubers using Final Cut Pro","p":["iJustine","Jonathan Morrison","Marques Brownlee"]},{"l":"Feature Films"},{"l":"Drama","p":["300 (2007)","500 Days of Summer (2009)","600 Miles (2015)","79 Parts (2016)","A Most Violent Year (2014)","A Serious Man (2009)","A Song Sung Blue (2023)","A Touch Of Sin (2013)","Amama (2015)","An Autumn Without Berlin (2015)","Antigang (2015)","Antigang 2 (2023)","Arini (2018)","Autobiography (2022)","Balls of Fury (2007)","Bem-vinda a Quixeramobim (2022)","Black Snake Moan (2006)","Blood & Gold (2023)","Blood Red Sky (2021)","Bokeh (2016)","Boszorkányház (2020)","Brick (2005)","Brothers' Nest (2018)","Budapest Heist (2020)","Burn After Reading (2008)","By the People: The Election of Barack Obama (2009)","Characterz (2016)","Chasing Molly (2019)","Cine Holliúdy 2: A Chibata Sideral (2018)","Cold Mountain (2003)","Corpse Bride (2005)","Courageous (2011)","Daisy Winters (2017)","Dantza (2018)","Dead Envy (2018)","Death Knot (2021)","Demi-soeurs (2018)","Dreamer: Inspired by a True Story (2005)","Eat Pray Love (2010)","El Hombre de las Mil Caras (2016)","Enchanted (2007)","Escape Room (2017)","Everything Else (2016)","Faith Based (2020)","Fire On The Plain (2022)","Flesh And Blood (2017)","Focus (2015)","Follow Me (2020)","Fou d'amour (2015)","Full Frontal (2002)","Gabriel (2007)","Gabriel (2018)","Gaia (2021)","Gamer (2009)","Geostorm (2017)","Goal of the Dead (2014)","Handia (2017)","Happy Endings (2005)","Happy Feet (2006)","Headlock / Against the Clock (2019)","HeartBreak (2019)","Hemingway & Gellhorn (2012)","Homecoming (2019)","In the Shadow of the Palms (2005)","Inland Empire (2006)","Intolerable Cruelty (2003)","Isi & Ossi (2020)","Jarhead (2005)","Jezebel (2019)","John Carter (2011)","John Carter (2012)","Just Let Go (2015)","L'Invitation (2021)","La Historia de Jan (2016)","La Horde (2009)","La isla del viento (2015)","La leyenda negra (2020)","La llum d'Elna (2017)","Let's Dance (2019)","Little Manhattan (2005)","Loreak (2014)","Luna (2017)","May the Devil Take You Two (2020)","Me and You and Everyone We Know (2005)","Minimalism: A Documentary About the Important Things (2015)","Monsters of Man (2020)","My Fair Lidy (2015)","Napoleon Dynamite (2004)","No Country for Old Men (2007)","O Brother, Where Art Thou? (2000)","O Shaolin do Sertão (2016)","Old Fashioned (2014)","One Night Stand (2021)","Only The River Flows (2023)","Open Water (2003)","Parasite (2019)","Photocopier (2021)","Psychosynthesis (2019)","Reign Over Me (2007)","Relativity (2019)","Ripples Of Life (2021)","Saturday's Warrior (2016)","Saved by Grace (2016)","Scare Zone (2009)","Shadows on the Road (2018)","Sky Captain and the World of Tomorrow (2004)","Sleep Has Her House (2017)","Super Size Me (2004)","Takaseem El Hob (2012)","Terror Inside (2008)","Tetro (2009)","The Banker (2020)","The Best Is Yet To Come (2020)","The Business of Christmas 2 (2021)","The Carousel Never Stops Turning (2017)","The Chosen (2015)","The Colony (2021)","The Curious Case of Benjamin Button (2008)","The Girl with the Dragon Tattoo (2011)","The Isle (2018)","The Ladykillers (2004)","The Last Queen (2022)","The Night Comes for Us (2018)","The Patrol (2013)","The Portait of a Nightmare (2020)","The ReVisitant (2019)","The Ring (2002)","The Rules of Attraction (2002)","The Science of Fictions (2019)","The Simpsons Movie (2007)","The Social Network (2010)","The Sunny Side Of The Street (2022)","The Three Investigators - Legacy of the dragon (2023)","The Touch (2005)","The Unknown Soldier (2017)","The Visitant (2014)","The Wild Goose Lake (2019)","The X-Files: I Want to Believe (2008)","Traitor (2008)","Twixt (2011)","Unhinged (2017)","Vazhiye (2022)","Vermelho Monet (2022)","Voice from the Stone (2016)","Well Wishes (2015)","What Happened, Miss Simone? (2015)","Where the Wild Things Are (2009)","Where The Wind Blows (2022)","Whiskey Tango Foxtrot (2016)","X-Men Origins: Wolverine (2009)","Young Detective Dee: Rise of the Sea Dragon (2013)","Youth Without Youth (2007)","Zodiac (2007)"]},{"l":"Documentary","p":["40 Years a Prisoner (2020)","Action Women (2020)","Autoluminescent: Rowland S. Howard (2011)","Becoming the Queen of the North (2022)","Blindsided (2006)","Ecco Homo Movie (2016)","Filmer le Chaos (2018)","Fragments of Truth (2018)","Hold Up, autopsie d'un braquage (2017)","In Bob We Trust (2013)","India's Space Odyssey (2021)","Juice WRLD: Into the Abyss (2021)","Keanu Reeves, messie pop (2022)","Killing the Shepherd (2021)","Kings of Crime - Season 1 (2017)","Kings of Crime - Season 2 (2018)","Le Mystère Jacques Audiard (2018)","Mystify: Michael Hutchence (2019)","Off The Tracks (2018)","Scènes de Crimes (2022)","Scramble the Seawolves (2018)","Sous les étoiles (2022)","Stephen King: Le mal nécessaire (2020)","The Making of “We Own The Night” (2008)","Voulez-vous rire avec moi ce soir? (2018)","Wild Amsterdam (2018)"]},{"l":"Television"},{"l":"Television Movies","p":["Tatort: Hackl (2023)","Tatort: Mord unter Misteln (2022)","Tatort: Dreams (2021)","Schwartz & Schwartz: Der Tod im Haus (2019)"]},{"l":"Television Series","p":["Apollo: Missions to the Moon (2019)","BBC Have I Got News For You (2020)","BBC News (2014)","Challenger Disaster: Lost Tapes (2016)","Conquistadores Adventum (2017)","Der Schatten (2023)","Detektif Soleh (2021)","Diana: In Her Own Words (2017)","Dogs Of Berlin (2018)","Drag Queens of London (2014)","George to the Rescue (2013)","J'ai tué mon mari (2021)","La Línea: Shadow of Narco (2020)","La Peste (2018)","Lazy Company (2013-2015)","Les Grands (2016-2019)","Leverage (2012)","Machine (2024)","Marianne (2019)","Matchday: Inside FC Barcelona (2019)","Missions (2017-2021)","Moah (2020)","O.J. Speaks: The Hidden Tapes (2015)","Paramedics: Emergency Response (2015)","Q: Into the Storm (2021)","Rebellion (2016)","Salvados (2019)","Sex on the Edge (2016)","Students on the Edge (2018)","T.A.N.K. (2016-2018)","The Hong Kong Affair (2013)","Tina Mobil (2021)","Trailer Park Boys (2012)","Trauma (2019)","Turn of the Tide (2023)"]},{"l":"Television Specials","p":["Bo Burnham: Inside (2021)","The Legend of Burnout Barry (2021)","Neighbours: Erinsborough High (2019)"]},{"i":"broadcast-news--sports","l":"Broadcast News & Sports","p":["MLR Weekly (longest running American Rugby show broadcast)","BBC World News - Click (comprehensive guide to all the latest gadgets, websites, games and computer industry news)"]},{"l":"Short Films","p":["Le Coffre (2023)","Dans les bois: L'orée (2023)","Hajimé (2021)","Goblin Spoon (2020)","Life After: A Story of Unexpected Friendships & Random Sh* tstorms (2020)","Thariode (2021)","EZK: Beyond the Walls (EZK: Au-dela des Murs) (2019)","Detour (2016)","Les vivants (2014)"]},{"l":"Online Series","p":["The Future of Everything (2023)"]},{"l":"Music Videos","p":["American Doubles - The Swell (2015)","Casey Donovan - The Villain (2017)","Cosmos Midnight - Mind Off (2017)","Crooked Colours - Flow (2017)","Dappled Cities - Stone Men (2017)","Gang Of Youths: The Deepest Sighs, the Frankest Shadows (2017)","Guy Pearce - What Makes You Think (2018)","Luis Fonsi - Despacito ft. Daddy Yankee (2017)","METTE - Mamas Eyes (2023)","Mura Masa - Move Me (2019)","Paolo Nutini - Iron Sky","Peking Duk: Let You Down (2017)","Rüfüs Du Sol - Be With You (2017)","STORMZY - VOSSI BOP (2019)","The Shoes - Time to Dance (2015)","Vera Blue - Like I Remember You (2019)"]},{"l":"Television Commercials","p":["Adidas - Golf","Adidas - Speed Factory","AIA - Australia","AIA - New Zealand","Airbnb - Strangers","Amnesty International - We have the will to win","Apple - Chase","Apple - Run Baby Run","Apple - Simple As That","Apple - The Greatest","Apple Music - Run This Town","Beats by Dre - Work in the Dark, Shine in the Light","Birds Eye - With Love","Discord - The Movie","Disney+ - Stories you'd expect, stories you wouldn't","FIFA - Champions Rise","Green & Blacks - Made of Nature","Hennessy - A New Further","Honda - The Other Side","KIA - Hidden Ideas","Malaria No More - Draw The Line Against Malaria","Mercedes - The Journey That Changed Everything","New York Times - Life Needs Truth","Nike - Tell Us Never","Nike - The Toughest Athletes","Penny - The Rift","Samsung - Awesome Is For Everyone","Volva - Favourite Things"]},{"i":"corporatebrand-spots","l":"Corporate/Brand Spots","p":["Melbourne International Comedy Festival (2023) - TAC - LOL Mobile","Melbourne International Comedy Festival (2023) - Mitsubishi Motors - Comedy Up Close","Melbourne International Comedy Festival (2023) - TAC - The Audition","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"FCP Creative Summit","p":["The Final Cut Pro Creative Summit dates and locations have now been confirmed.","It will take place November 6th to 8th at Apple Park & The Hyatt Regency Santa Clara.","Whether you are a trained professional or just starting your creative career, Apple has the software and tools you need to power your creative work. This unique event is where Apple power users and Final Cut Pro Professionals come together to learn and discuss their craft. We are excited to be back in Cupertino! The FCP Creative Summit features 2 full days of sessions in multiple tracks and a unique day at Apple!","You can find the evolving program here.","You can find a list of speakers here.","You can visit the official website here."]},{"l":"Official Press Release","p":["Here's FMC's official press release.","Cupertino, California (PRWEB) August 11, 2023 -- With immense anticipation and excitement, FMC, supported by Apple, proudly unveils the 2023 Final Cut Pro Creative Summit, which will take place on November 6, 7, and 8. The summit returns to Cupertino - a recognized hub of innovation - for the first time since 2019 and is set to be a momentous occasion. Building on the resounding success of last year's Final Cut Pro Summit roadshow, this eagerly-awaited event aims to foster collaboration and inspire boundless creativity in video editing.","The summit's kickoff allows attendees an unparalleled opportunity to discover the Apple campus and engage with the esteemed Apple team. This immersive journey offers participants the chance to acquire invaluable insights into the latest strides in Final Cut Pro on Mac and iPad, marking the exciting next phase in the expanded Final Cut Pro ecosystem.","The second and third days, hosted at the Hyatt Regency Santa Clara, offer a variety of immersive training sessions led by highly-experienced Apple Certified Trainers. Participants will traverse the intricate landscape of FCP software, exploring core features and vital plug-ins, mastering advanced compression and distribution techniques, and acquiring knowledge of audio and color correction best practices. Additionally, attendees will delve into compelling case studies, providing invaluable insights from leading industry specialists.","The summit will include an inspiring keynote address and exclusive sessions for FCP certification preparation, complementing the immersive training. Beyond gaining insights into industry trends and cutting-edge technologies, attendees will have the opportunity to expand their professional network and establish valuable connections, fostering an environment of collaboration and growth. The Final Cut Pro Creative Summit is engineered to catalyze transformation, equipping participants to magnify their skills, explore new dimensions of creativity, and create lasting professional relationships.","\"We're exhilarated to see the FCP Creative Summit making its triumphant return to Cupertino,\" shares Ben Kozuch, President and co-founder of Future Media Concepts. \"In this year's edition, we strive to reignite the excitement for learning and reconstruct the formidable connections within our FCP community.\"","Join us this November to celebrate the exciting revival of the FCP Creative Summit in Cupertino. Be part of this unmatched blend of learning and networking for a pass priced at $299. For additional information, please visit https://fcpcreativesummits.com/.","About FMC","Future Media Conferences, LLC is the leading producer of education-rich conferences for content creators in the US and internationally, bringing unique combined knowledge both in training content as well as all aspects of the production of virtual and in-person events. Some events include the Post|Production World, Visual Storytelling Conference, and Director of Photography Creative Conference at NAB Show in Las Vegas and NAB Show New York, Adobe Video World, and more. For a complete list of FMC’s conferences, visit futuremediaconferences.com.","Press Contact: Megan Belka (Event Manager) MeganB@FMCtraining.com","Jessica Cesario, FMC, 1 845-380-1487, Jessicac@fmctraining.com","SOURCE FMC"]},{"l":"Discuss this page"}],[{"l":"Open Letter","p":["On Tuesday 19th April 2022, a group of over 100 people in TV and film production worldwide sent an open letter to Tim Cook of Apple about Final Cut Pro.","They used the letter ask Apple to publicly stand by the use of Final Cut Pro - Apple’s video editing application for professionals - in TV and film industries worldwide.","It wasn’t a criticism of the Apple team developing and marketing Final Cut Pro. They have worked very hard for over a decade on making Final Cut Pro better and better. This open letter is aimed at the executives who set the priorities of the Final Cut Pro development team and the Apple managers whose policies limit the public marketing of Final Cut Pro to a couple of website updates a year and some mentions in Apple keynotes about how much faster Apple hardware is getting.","The letter’s signatories aim was to encourage Apple to make a new commitment to the professional TV and filmmaking industry. They believe that would potentially benefit filmmakers the world over regardless of their personal NLE preferences.","Competition is a positive. Apple has demonstrated a willingness to swing big. The very fact that they are not exclusively tethered to our industry allows them to try things others likely can’t. We hope you’ll support us in encouraging one of the heaviest hitters in media and technology to more forcefully push the boundaries of all of our tools.","They gathered some comments about Final Cut Pro and Apple:","Galliano Olivier, editor of ‘Marianne,’ a French TV drama series edited in Final Cut and distributed by Netflix says “In France, it is extremely difficult to get permission to edit TV with Final Cut Pro. You can’t use it without fighting producers, directors, post-production supervisors, sound editors, etc...”","Knut Hake BFS, editor of ‘Blood Red Sky,’ a feature film distributed by Netflix and edited using Final Cut Pro commented, “I think it would make a big difference for workflow consultants, systems integrators and third-party developers if there was a public Beta program for Final Cut Pro. Apple already do it for iOS, macOS and even Safari. It would make Final Cut more reliable and make it much easier for people to fit Final Cut into their plans for the future.”","Steven Sanders, editor in chief of of the Fox TV series ‘War of the Worlds’ season 3 said “The two main reasons why I am often not allowed to chose my favourite editing application, which is Final Cut Pro are: 1. Collaboration! Editing big productions needs collaboration. Different users have to be able to access the same library at the same time. There is no way around this. Avid Media Composer does it and even DaVinci Resolve does it. Apple still targets the single user. They have to change that. That will change everything. 2. Many professionals do not know how Final Cut works. They are afraid of it, even regard is as ‘iMovie Pro.’ I hear that all the time in my business. This perception really has to change.\"","Vanessa E. Brogna, assistant editor of ‘Bridgerton’ one of the top TV shows on Netflix commented: “Final Cut Pro is my favorite NLE. It's an absolute powerhouse and I feel the most creative and productive. Doing one step in Final Cut is about 3-4 in other NLEs. However, the real magic of Final Cut is its free form style of editing. Editing on a magnetic timeline is streamlined and smooth so I can still be organized, but I'm able to spend more time experimenting in the edit creatively and finesse my work.“","Jeff Asher, editor of ‘Big Sky,’ a US TV series on ABC and Hulu, says “As a TV editor, my job consists of being creative and being fast. Final Cut is the best NLE to achieve both of those goals. Now we need Apple on board with a roadmap and open dialogue with Film and TV creators to restore confidence lost over ten years ago.”"]},{"l":"Press"},{"l":"Before","p":["An open letter to Tim Cook about Final Cut Pro, signed by editors and post-production pros around the world (ProVideo Coalition)"]},{"i":"after","l":"After:","p":["Apple responds to the open letter to Tim Cook about Final Cut Pro (ProVideo Coalition)","Apple responds to open letter about improving usage and reputation of Final Cut Pro in filmmaking industry (9to5mac)","Apple Response to “Final Cut Pro in TV and Film” Open Letter (fcp.co)","Apple Responds to Open Letter Demanding Improvement of Final Cut Pro (PetaPixel)"]},{"i":"open-letter-19th-april-2022","l":"Open Letter (19th April 2022)","p":["Abbas Fahdel, Director of ‘Homeland: Iraq Year Zero,’ Feature Documentary, Iraq","Andrea Chignoli, Editor of ‘\"No\" directed by Pablo Larrain,’ Feature Film, Chile","Andreas Menn, Editor of ‘The Colony,’ Feature Film, Germany+Swiss","Andrew McKee BFE, Editor of ‘Eaten by Lions,’ Feature Film, UK","Azusa Yamazaki, Editor of ‘Drive My Car,’ Feature Film, Japan","Benjamin Ikes, Editor of ‘Buba,’ Feature Film, Germany","Benjamin Mercer F.C.E, Editor of ‘Unknown Soldier / Tuntematon Sotilas,’ Feature Film, Finland","Beverly Maguire BFE, Editor of ‘It’s Pony,’ Animated TV series, UK","Bo Li, Editor of ‘Plastic China,’ Feature Documentary, China","Brad Stoddard, Finish Editor / Colorist of ‘Sakura & Pearls: Healing From World War II ,’ Feature Documentary, US","Brett Ramsey, Editor of ‘In Pit Lane ,’ TV News, Australia","Brian Zwiener, Assistant Editor of ‘Terminator: Dark Fate,’ Feature Film, US","Carsten Behrendt, Editor of ‘Helden der Hauptstadt,’ Feature Documentary, Germany","Chad Tremblay, Editor of ‘Hunter Hunter,’ Feature Film, Canada","Chankanet Leksomboon, First Assistant Editor of ‘Bangkok Breaking,’ TV Drama Series, Thailand","Chris Black, Editor of ‘Fly the flag for Human Rights',’ TV Documentary Series, UK","Chris Hocking, Editor of ‘Neighbours: Erinsborough High,’ TV Limited Series/Mini Series, Australia","Christopher Darlington, Editor of ‘The Uncluttered Worlds of Christopher Pratt,’ Feature Documentary, Canada","Clark N Henderson, Assistant Editor of ‘Paramedics: Emergency Response,’ TV Factual Series, Canada","Cris Mertens, Editor of ‘Young Justice: Phantoms,’ Animated Series, US","Daniel Rakete Siegel, Director of ‘Schock (WT),’ Feature Film, Germany","David Maria Vogel BFS, First Assistant Editor of ‘The Colony,’ Feature Film, Germany/Switzerland","David Peterson, Editor of ‘Bluey,’ TV Animated Series, Australia","David Wieching BFS, Editor of ‘Schock,’ Feature Film, Germany","Dayyan Eng, Editor of ‘Wished,’ Feature Film, China","Dear Tim Cook,","Debby Germino, Editor of ‘Genius,’ TV Drama Series, US","Dimitri Amar, Editor of ‘Marianne,’ TV Drama Series, France","Dirk Grau, Editor of ‘Charite II ,’ TV Drama Series, Germany","Fabien Leroy, Editor of ‘Graines d'étoiles, 5 ans après,’ TV Documentary Series, France","Fernanda Tornaghi, Editor of ‘Girl in the Picture,’ Feature Documentary, US","Final Cut Pro is a wonderful application used by many YouTubers, education and small business content creators worldwide. We know why it is successful. It is liberating, efficient and fun to work with. But, unfortunately in professional film and TV, editors who use Final Cut Pro are a tiny minority.","Florian Duffe, BFS, Editor of ‘Tatort: Dreams,’ TV Movie, Germany","Floris Kotze (S.A.G.E), Editor of ‘Carte Blanche,’ TV Documentary Series, South Africa","Fortis Yen, Editor of ‘Adventure Life,’ TV Factual Series, China","Gabriel Rhodes, Editor of ‘Time,’ Feature Documentary, US","Galliano Olivier, Editor of ‘Marianne,’ TV Drama Series, France","Gladys Jimenez, Editor of ‘Red table talk,’ Talk show, US","Gregory Lynch Jr, Director of ‘Stro: The Michael D'Asaro Story,’ Feature Documentary, US","Habiba Laout, Editor of ‘Kleine Germanen,’ Feature Documentary, Germany","Harin Paesongthai, Editor of ‘Bangkok Breaking,’ TV Drama Series, Thailand","Helgi Thor, Editor of ‘Cine Holliúdy 2: A Chibata Sideral ,’ Feature Film, Brazil","Howard Silver , Editor of ‘Looking West: China’s New Generation,’ TV Documentary Series, US","Ian Hinter, Editor of ‘BBC News,’ TV News, UK","If Apple renewed its public commitment to the professional filmmaking industry and its visionary product, we believe an increasing number of editors would discover the joys of using Final Cut Pro.","It’s wonderful that Apple TV+ has become the first streaming platform to have a Best Picture Oscar winner with CODA, but it’s disappointing to know that Final Cut Pro is so unlikely to have been a possible choice as the film’s editing app.","Jan Ruschke, Editor of ‘Die Ibiza Affäre,’ TV Drama Series, Germany","Jeanine - SAGE, Editor of ‘The Odyssey,’ TV Factual Series, South Africa","Jeff Asher, Editor of ‘Big Sky,’ TV Drama Series, US","Jenson Tay Yi, Assistant Editor of ‘Ripples of Life,’ Feature Film, China","Jessica Houston, Producer/Editor of ‘Rockhaven: a Sanctuary From Glendale’s Past,’ TV Documentary, US","Jon Einarsson Gustafsson, Director of ‘Wrath of Gods,’ Feature Documentary, Iceland","Jonny Lewis, Director of ‘Graham Boyd: A Life In Colour,’ Feature Documentary, UK","Josh Beal. ACE, Editor of ‘Counterpart,’ TV Drama Series, US","Kafai Cheung, Editor of ‘IP Man, IP Man 2, IP Man 3, IP Man 4,’ Feature Films, Hong Kong, China","Karien van Biljon, Editor of ‘On Safari,’ TV Factual Series, South Africa","Kevin Luk, Editor of ‘The Legend of Burnout Barry,’ TV Limited Series/Mini Series, Australia","Kilian von Keyserlingk (BFS), Editor of ‘Kilian von Keyserlingk,’ TV Limited Series/Mini Series, Germany","Kilian von Keyserlingk BFS, Editor of ‘Blackout,’ TV Limited Series/Mini Series, Germany","Knut Hake BFS, Editor of ‘Blood Red Sky,’ Feature Film, Germany","Lau Kok Rui, Director of ‘The Sunny Side of the Street,’ Feature Film, Hong Kong","Lee Chatametikool , Editor of ‘Memoria,’ Feature Film, Colombia","Leonardo Franke, BFS, Editor of ‘Der Bayernboss, ,’ TV Documentary Series, Germany","Liwen Nien, Editor of ‘Aqua Challenge ,’ TV Factual Series, Taiwan","Liwen Nien, Editor of ‘AquaChallenge ,’ TV Factual Series, Taiwan","Louis Mathews, Editor of ‘Stephen King : A necessary evil,’ Feature Documentary, France","Marc Hofmeister, Editor of ‘Sløborn Season 1 & 2,’ TV Drama Series, Germany","Marcos Castiel BFE, Editor of ‘Glória ,’ TV Drama Series, Portugal","Maria Gans, Editor of ‘Bibi und Tina - Einfach Anders ,’ Feature Film, Germany","Martijn Rondel, Editor of ‘Geluk op Wilen,’ TV Limited Series/Mini Series, Netherlands","Martin Gosset, Post-Production Supervisor of ‘La beauté cachée des laids,’ TV Documentary Series, France","Martin Reimers, Editor of ‘Defender of the Faith,’ Feature Documentary, Germany","Martin Wunschick, BFS, Editor of ‘Sachertorte,’ Feature Film, Austria","Matthew Alson Thornbury, Editor of ‘Eye Opener TV,’ TV News, US","Matthieu Laclau, Editor of ‘A Touch of Sin,’ Feature Film, China","Mauricio Lleras, Editor of ‘The Red Tree,’ Feature Film, Colombia","Michael Yanovich, ACE, Editor of ‘Another Girl,’ Feature Film, US","Mike Matzdorff, Editor of ‘The Shrinking of Treehorn,’ Animated Feature Film, US","Nathalie Sanchez, Editor of ‘La forêt de quinconces ,’ Feature Film, France","Nose Chan, Editor of ‘Suk Suk,’ Feature Film, Hong Kong","Oliver Gieth, Editor of ‘Sankt Maik,’ TV Comedy Series, Germany","Oliver Holtkamp , Editor of ‘Diego Maradona - Was he murdered?,’ Feature Documentary, Germany","Patricia Rommel, Editor of ‘The Lives of Others,’ Feature Film, Germany","Phuttiphong Aroonpheng, Director of ‘Morrison,’ Feature Film, Thailand","PS: This letter is not intended as a criticism of the huge amount of hard work done by the Final Cut team over the years. We are asking Apple to change the policies that they work under.","Ray Liou, online editor of ‘Qi yu ren sheng,’ TV Factual Series, China","Rees Dale, Director of ‘Aazadi (freedom),’ Feature Documentary, Germany","Riffaud Richard, Editor of ‘Cobweb,’ Feature Film, US","Robbert-Jan van der Does, Cinematographer/VFX editor of ‘Welkom in de jaren ‘20 en ‘30,’ TV Comedy Series, the Netherlands","Romain Imbert, Assistant Editor of ‘Parallels,’ TV Drama Series, France","Ryan Malone IATSE 891, Editor of ‘Paramedics: Emergency Response,’ TV Documentary Series, Canada","Sam Mestman, Workflow Architect of ‘Focus,’ Feature Film, US","Sam Pluemacher , First Assistant Editor of ‘Blood Red Sky,’ Feature Film, Germany","Sandro Aguilar, Director of ‘Mariphasa,’ Feature Film, Portugal","Sascha Gerlach, BFS, Editor of ‘Die Känguru-Verschwörung,’ Feature Film, Germany","Scott Markowitz, Lead Editor of ‘Restaurant:Impossible,’ TV Drama Series, US","Sebastian Leitner, Editor of ‘Female Voice of Afghanistan,’ TV Documentary Series, Germany","Sebastian Riezler BFS, Editor of ‘TerraX - The assassination of Julius Caesar,’ TV Documentary Series, Germany","Shahin Shokoui, Editor of ‘MTV Unplugged - Marius Müller Westernhagen,’ TV Music Concert, Germany","Signed,","Stefan Kobe, Editor of ‘Dogs of Berlin/ TKKG/ Kundschafter des Friedens,’ Feature Film, Germany","Stephen Nahorniak, Editor of ‘Open Hous,’ TV Reality, TV Documentary, TV Non-Fiction, US","Steven Moyer, Editor of ‘La Leyenda Negra,’ Feature Film, US","Steven Sanders, editor in chief, Editor of ‘War of the Worlds S3,’ TV Drama Series, UK","Tabone Dorian, Editor of ‘Parallel,’ TV Drama Series, France","Tanneguy O'Meara, Editor of ‘Gerard Depardieu : Mon Reve Ouzbek,’ Feature Documentary, France","Thank you,","Thunchanok Suthanintr , Editor of ‘One Night In Bangkok,’ Feature Film, Thailand","Todd Vaziri, Visual Effects Artist on ‘Transformers,’ Feature Film, US","Tom Hsinming Lin, Editor of ‘Summer Blur (Hannan xia ri (2020)),’ Feature Film, China","Tom Thistlethwaite, Editor of ‘Nature and Us: A History through Art,’ TV Factual Series, UK","Vanessa E. Brogna, Assistant Editor of ‘Bridgerton,’ TV Drama Series, US","We also hope to see Apple ensuring that improved Pro Apps support is widely available and that Final Cut Pro can also be bought through current industry suppliers. This is is essential for big productions to accept Final Cut Pro as legitimate.","We also think it’s incredible that some of us still can’t choose it to do our work. Work that could easily include productions for your very own Apple TV+ service.","We are professionals working in Hollywood and other high-profile movie and TV markets all over the world. We are excited by Final Cut Pro. We think that it is the biggest leap forward in editing technology since the move to digital. We think it’s incredible.","We ask Apple to promote Final Cut Pro publicly and add the few remaining features that our industry has consistently stated are needed.","We hope you will encourage our industry to see Final Cut Pro as a professional choice for editors of future award-winning TV shows and movies, and for millions more editors all over the world.","We hope you will start showing that Apple aims to make Final Cut Pro the best application for editing TV and movies. We believe that this could lead to a Pro Apps renaissance as pioneering as your amazing M1 Max MacBook Pros and the M1 Ultra Mac Studio.","We the undersigned support the points made in the following open letter sent to Tim Cook of Apple:","We welcome your forthcoming brand-new FCP Certification exams. We need more experienced film and TV production crew members who also know how to use Final Cut Pro.","We'd love to see Apple publicly support and certify the suppliers of the third-party products and services we use to integrate Final Cut Pro into industry-standard workflows.","Weerapat Tembundit, Editor of ‘Bangkok Breaking,’ TV Drama Series, Thailand","William Hohauser, Editor of ‘Uncovering The Naked City,’ Documentary, US","Yann-Shan Tsai, Editor of ‘Nina Wu,’ Feature Film, Taiwan","Ye Ruchang, Editor of ‘The Wandering Earth,’ Feature Film, China","Yu Boyang, Editor of ‘Detective Dee 2,’ Feature Film, China","Yuval Orr, Editor of ‘Skin- Oscar winner for short film,’ Short, US","Zhang Zhao, Editor of ‘The Best Is Yet To Come,’ Feature Documentary, China"]},{"l":"Discuss this page"}],[{"l":"Wish List","p":["This page is dedicated to keeping track of Final Cut Pro feature requests, via our GitHub issues site.","To submit a new feature request, simply sign up for a free GitHub account and post an issue here.","GitHub is a safe and secure developers platform used by over 73 million users worldwide.","We also keep track of the most popular feature requests, based on the amount of reactions the issues get.","In general, whenever posting a new feature request to GitHub, we also submit feedback directly to Apple via Feedback Assistant, and make a note of the Feedback Assistant ID in the issue.","You can also send feedback directly to the Final Cut Pro team here, although unlike Feedback Assistant you can't track your request or add additional information - so we generally recommend you use Feedback Assistant instead.","Richard Taylor also maintains a list of 101+ Requests for Final Cut Pro.","Create a free GitHub account then click here!"]},{"l":"Most Popular","p":["[Final Cut Pro (for iPad) v1.0.1] Add support for Custom Fonts (June 18, 2023)","[Final Cut Pro for iPad] Allow customisation of project start timecode (June 18, 2023)","Ability to Lock/Unlock a Project (Timeline) (June 18, 2023)","Ability to set linear keyframes to default (July 1, 2023)","Adjustable Storyline Parameters (June 1, 2023)","Audio Mixer with Master Volume Control (May 31, 2023)","Being in Transformation/Crop/Distort mode shouldn't disable the skimmer (August 24, 2022)","Better Keyframe Options (June 1, 2023)","Browser Playhead skimmer visibility (May 30, 2023)","Clip Logger (May 31, 2023)","Customisable Match Color & Balance Color Parameters (June 1, 2023)","Dynamic Keyword shortcuts to change per project (June 24, 2023)","Effects, Titles & Transitions Browser Improvements & In-App Purchases (June 1, 2023)","Expand Compound Clips in Timeline (June 1, 2023)","Here's a list of the 30 most popular Final Cut Pro feature requests:","Improve AV Output (April 6, 2023)","Motion Round-tripping (May 31, 2023)","Native AAF Export (June 8, 2023)","Native ARRIRAW Support (June 8, 2023)","Native Blackmagic RAW Support (June 1, 2023)","Pasteboard Manager & Pasteboard History (June 1, 2023)","Project Playback/Scrubbing in Browser (May 31, 2023)","Reveal in Browser with detached Audio/Video (May 19, 2022)","Robust Custom Categorisation and Management of Motion Templates (June 8, 2023)","Robust Relinking Options (June 8, 2023)","Scene Cut Detect (June 12, 2023)","Scrolling Timeline (May 31, 2023)","The above list is pulled from our GitHub issues site.","Transcription and Text-Based Editing (June 7, 2023)"]},{"l":"Recently Added","p":["[Final Cut Pro (for iPad) v1.0.1] Add support for Custom Fonts (June 18, 2023)","[Final Cut Pro for iPad] Allow customisation of project start timecode (June 18, 2023)","Ability to Lock/Unlock a Project (Timeline) (June 18, 2023)","Ability to set linear keyframes to default (July 1, 2023)","Adjustable Storyline Parameters (June 1, 2023)","Audio Mixer with Master Volume Control (May 31, 2023)","Being in Transformation/Crop/Distort mode shouldn't disable the skimmer (August 24, 2022)","Better Keyframe Options (June 1, 2023)","Browser Playhead skimmer visibility (May 30, 2023)","Clip Logger (May 31, 2023)","Customisable Match Color & Balance Color Parameters (June 1, 2023)","Dynamic Keyword shortcuts to change per project (June 24, 2023)","Effects, Titles & Transitions Browser Improvements & In-App Purchases (June 1, 2023)","Expand Compound Clips in Timeline (June 1, 2023)","Here's a list of the 30 most recently added Final Cut Pro feature requests:","Improve AV Output (April 6, 2023)","Motion Round-tripping (May 31, 2023)","Native AAF Export (June 8, 2023)","Native ARRIRAW Support (June 8, 2023)","Native Blackmagic RAW Support (June 1, 2023)","Pasteboard Manager & Pasteboard History (June 1, 2023)","Project Playback/Scrubbing in Browser (May 31, 2023)","Reveal in Browser with detached Audio/Video (May 19, 2022)","Robust Custom Categorisation and Management of Motion Templates (June 8, 2023)","Robust Relinking Options (June 8, 2023)","Scene Cut Detect (June 12, 2023)","Scrolling Timeline (May 31, 2023)","The above list is pulled from our GitHub issues site.","Transcription and Text-Based Editing (June 7, 2023)","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Bug Tracker","p":["This page is dedicated to keeping track of the latest Final Cut Pro bugs and issues.","Final Cut Pro 10.6.8 has been released on the Mac App Store!","If you're currently using Final Cut Pro 10.6.6 or earlier we recommend sticking with that for the time being.","However, if you're using Final Cut Pro 10.6.7 we recommend updating, as it resolves some issues with the Viewer going black and various crashes.","You can learn more about the issues in Final Cut Pro 10.6.7 here.","Additionally, Final Cut Pro 10.6.7 and Final Cut Pro 10.6.8 use a newer Library format than Final Cut Pro 1.1 (for iPad).","This means that if you want to use Transfer Toolbox to go from Mac to iPad, you should keep using Final Cut Pro 10.6.6 (for Mac).","Last Updated: 2nd August 2023","We keep track of these bugs via our GitHub issues site.","GitHub is a safe and secure developers platform used by over 73 million users worldwide.","To submit a new bug report, simply sign up for a free GitHub account and post an issue here.","If you'd prefer not to use GitHub, then you can always email us your bug report: support@latenitefilms.com","Whenever posting a new bug/issue to GitHub, we also submit feedback directly to Apple via Feedback Assistant.","You can also send feedback directly to the Final Cut Pro team via their Feedback Form, however, unlike Feedback Assistant you can't track your request or add additional information after submitting, nor can you have a discussion with the Apple team via the comments - so we generally recommend you use Feedback Assistant as well."]},{"l":"Finding Crash Logs","p":["You can find previous crash logs in this folder:","~/Library/Logs/DiagnosticReports/","You can find your user library by holding down OPTION when you click the Go menubar item from Finder.","Because crash logs are really large, the easiest way to share them on GitHub (and with Apple via feedback) is via a GitHub Gist."]},{"l":"Third Party Software","p":["It's important to note that since Final Cut Pro 10.6.6 Apple has dropped FxPlug3 support.","When the effect or look you want to achieve can't be created with the filters or generators provided with Final Cut Pro or Motion, the FxPlug software development kit (SDK) allows you to write your own custom visual effects.","FxPlug is a compact, powerful image-processing plug-in architecture that lets you create unique, hardware-accelerated or CPU-based effects plug-ins with customized UI and onscreen controls.","In Final Cut Pro 10.6.5 and earlier, FxPlug3 plugins ran \"inside\" Final Cut Pro, and a bad plugin could crash Final Cut Pro.","However, since Final Cut Pro 10.6.6, only FxPlug4 is supported, and all FxPlug4 plugins are run \"out of process\" - meaning they're effectively their own application, and if they crash, Final Cut Pro doesn't.","Generally speaking if a FxPlug4 plugin crashes, then Final Cut Pro will just try restart it, and if it crashes 5 times or so, then it'll display the \"this plugin is not responding\" message.","All Workflow Extensions also run out of process.","For example, you can see all the different processes in Activity Monitor:","If you manually try and force quit a process, you'll see Final Cut Pro start it up again when needed.","What this means is that since Final Cut Pro 10.6.6, if Final Cut Pro crashes, it's NOT a third party FxPlug4 effect or a Workflow Extension - it's something in Apple's own code, and there's nothing third party developers can do about it, so there's no point emailing FxFactory, CoreMelt, MotionVFX, etc. to complain.","Create a free GitHub account then click here!"]},{"i":"final-cut-pro-1068","l":"Final Cut Pro 10.6.8","p":["Here's a list of the 30 most recently added Final Cut Pro 10.6.8 bug reports:","Phantom Clip Skimming (August 11, 2023)","\uD83E\uDDF5 Non-reproducible Final Cut Pro 10.6.8 Crashes (August 7, 2023)","Crash when right clicking on library (August 6, 2023)","Command Set Import should be limited to .commandset files (August 5, 2023)","Crashed after creating transition (August 4, 2023)","In specific and reproductible case, font variation is not saved in the project (after quit/reopen) (July 24, 2023)","Impossible to change font variation (bold, italic...) (July 24, 2023)","Final Cut Pro ignores Opacity of 0% in Motion Template (July 20, 2023)","The above list is pulled from our GitHub issues site."]},{"i":"final-cut-pro-1067","l":"Final Cut Pro 10.6.7","p":["\uD83E\uDDF5 Final Cut Pro 10.6.7 generally unreliable and buggy (July 23, 2023)","10.6.7 Random Beach Balls After Working A While (July 26, 2023)","10.6.7 Runaway FCP Processes (July 28, 2023)","Changing Color Adjustments Sliders via Accessibility API do not update correctly (June 15, 2023)","Crash after adding Title to Project/Timeline & Black Viewer (July 27, 2023)","Crashed when pasted text in text field of Centered Title (July 24, 2023)","Custom Export Destinations missing after update (July 20, 2023)","Editing projects with 4K (or larger) resolution is not recommended on this computer. You may experience performance issues. (July 25, 2023)","FCP crash during XML import (June 27, 2023)","Final Cut Pro 10.6.7 crash on launch (July 24, 2023)","Here's a list of the 30 most recently added Final Cut Pro 10.6.7 bug reports.","Imported iMovie picture in picture border and drop shadow does not rotate with picture (June 19, 2023)","Renders being lost/missing after restart (April 23, 2019)","Retiming in secondary timeline borks the primary timeline (July 30, 2023)","Some 4K H264 10bit 422 Footage is blurry when paused on M1 Ultra Mac Studios (July 21, 2023)","The above list is pulled from our GitHub issues site.","These bugs will eventually be migration to the 10.6.8 list once confirmed."]},{"l":"Most Popular","p":[".MP4 Audio Click/Pop Issue (June 6, 2023)","\uD83E\uDDF5 Final Cut Pro 10.6.7 generally unreliable and buggy (July 23, 2023)","\uD83E\uDDF5 Non-reproducible Final Cut Pro 10.6.8 Crashes (August 7, 2023)","10-bit H.264 black clips and timeline export failure with certain formats (June 1, 2023)","10.6.7 Random Beach Balls After Working A While (July 26, 2023)","10.6.7 Runaway FCP Processes (July 28, 2023)","Audio Presets don't migrate from earlier versions to v10.6.6 (May 27, 2023)","Changing Color Adjustments Sliders via Accessibility API do not update correctly (June 15, 2023)","Command Set Import should be limited to .commandset files (August 5, 2023)","Crash after adding Title to Project/Timeline & Black Viewer (July 27, 2023)","Crash when right clicking on library (August 6, 2023)","Crashed after creating transition (August 4, 2023)","Crashed when pasted text in text field of Centered Title (July 24, 2023)","Custom Export Destinations missing after update (July 20, 2023)","Editing projects with 4K (or larger) resolution is not recommended on this computer. You may experience performance issues. (July 25, 2023)","FCP crash during XML import (June 27, 2023)","FCP incorrect frame order on playback or export if retimed compound clip contains trim or through edits (May 31, 2023)","FCP intermittent brightness fluctuation on Apple Silicon during playback of Sony SLog3 XAVC-L MXF (May 31, 2023)","FCP video noise reduction produces incorrect frame cadence on retimed rate conformed clip (May 31, 2023)","FCPXML v1.11 doesn't support Soundtracks (May 28, 2023)","Final Cut Pro 10.6.7 crash on launch (July 24, 2023)","Final Cut Pro ignores Opacity of 0% in Motion Template (July 20, 2023)","Generator with Effect doesn't update correctly during playback (June 15, 2023)","Here's a list of the 30 most popular Final Cut Pro bug reports:","Imported iMovie picture in picture border and drop shadow does not rotate with picture (June 19, 2023)","Impossible to change font variation (bold, italic...) (July 24, 2023)","In specific and reproductible case, font variation is not saved in the project (after quit/reopen) (July 24, 2023)","Motion 5.6.5 Text Sequencing Direction Bug (August 8, 2023)","Phantom Clip Skimming (August 11, 2023)","Retiming in secondary timeline borks the primary timeline (July 30, 2023)","Some 4K H264 10bit 422 Footage is blurry when paused on M1 Ultra Mac Studios (July 21, 2023)","The above list is pulled from our GitHub issues site."]},{"l":"Recently Added","p":[".MP4 Audio Click/Pop Issue (June 6, 2023)","\uD83E\uDDF5 Final Cut Pro 10.6.7 generally unreliable and buggy (July 23, 2023)","\uD83E\uDDF5 Non-reproducible Final Cut Pro 10.6.8 Crashes (August 7, 2023)","10-bit H.264 black clips and timeline export failure with certain formats (June 1, 2023)","10.6.7 Random Beach Balls After Working A While (July 26, 2023)","10.6.7 Runaway FCP Processes (July 28, 2023)","Audio Presets don't migrate from earlier versions to v10.6.6 (May 27, 2023)","Changing Color Adjustments Sliders via Accessibility API do not update correctly (June 15, 2023)","Command Set Import should be limited to .commandset files (August 5, 2023)","Crash after adding Title to Project/Timeline & Black Viewer (July 27, 2023)","Crash when right clicking on library (August 6, 2023)","Crashed after creating transition (August 4, 2023)","Crashed when pasted text in text field of Centered Title (July 24, 2023)","Custom Export Destinations missing after update (July 20, 2023)","Editing projects with 4K (or larger) resolution is not recommended on this computer. You may experience performance issues. (July 25, 2023)","FCP crash during XML import (June 27, 2023)","FCP incorrect frame order on playback or export if retimed compound clip contains trim or through edits (May 31, 2023)","FCP intermittent brightness fluctuation on Apple Silicon during playback of Sony SLog3 XAVC-L MXF (May 31, 2023)","FCP video noise reduction produces incorrect frame cadence on retimed rate conformed clip (May 31, 2023)","FCPXML v1.11 doesn't support Soundtracks (May 28, 2023)","Final Cut Pro 10.6.7 crash on launch (July 24, 2023)","Final Cut Pro ignores Opacity of 0% in Motion Template (July 20, 2023)","Generator with Effect doesn't update correctly during playback (June 15, 2023)","Here's a list of the 30 most recently added Final Cut Pro bug reports:","Imported iMovie picture in picture border and drop shadow does not rotate with picture (June 19, 2023)","Impossible to change font variation (bold, italic...) (July 24, 2023)","In specific and reproductible case, font variation is not saved in the project (after quit/reopen) (July 24, 2023)","Motion 5.6.5 Text Sequencing Direction Bug (August 8, 2023)","Phantom Clip Skimming (August 11, 2023)","Retiming in secondary timeline borks the primary timeline (July 30, 2023)","Some 4K H264 10bit 422 Footage is blurry when paused on M1 Ultra Mac Studios (July 21, 2023)","The above list is pulled from our GitHub issues site.","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Troubleshooting","p":["This page is dedicated to getting help and support for Final Cut Pro.","You can also ask members of the FCP Cafe community for help on our Discussions page."]},{"l":"Apple Support","p":["You can visit the official Final Cut Pro support page here."]},{"i":"fcpxtv","l":"FCPX.TV","p":["Richard Taylor has some detailed troubleshooting steps on his website.","Something missing? Make a suggestion!"]},{"l":"Discuss this page"}],[{"l":"Frequently Asked Questions","p":["This page is dedicated to answering the most common questions about Apple's Final Cut Pro.","You can use the Search Tool at the top right of this page to search the FAQ.","Something missing or have a question? Learn more here!"]},{"l":"A"},{"i":"animations---overview","l":"Animations - Overview","p":["Final Cut Pro is a robust tool that allows for a variety of animations, both simple and complex. Here's an overview of the types of animations you can create in Final Cut Pro:","Text and Titles: Final Cut Pro has a comprehensive set of tools for creating animated text and titles. You can animate text to fly in, fade in, spin, and much more, and control exactly when and how these animations happen.","Transitions: You can create animated transitions between clips. This could be as simple as a cross dissolve, or something more complex like a 3D cube spin or page peel.","Keyframe Animations: You can animate virtually any visual aspect of a video clip or effect using keyframes. Keyframes allow you to set specific values for certain parameters (like position, scale, or opacity) at specific points in time. Final Cut Pro then animates the change in these parameters over time.","Effects and Filters: Final Cut Pro includes a variety of effects and filters that can be animated, like blurs, color changes, distortions, and more. see also Effects.","Motion Paths: You can animate objects to move along a specific path over time.","3D Animations: Although Final Cut Pro doesn't include full 3D modeling tools, it does allow you to create some 3D animations. For example, you can animate 2D images or text in 3D space.","Animations with Motion: If you need more advanced animation capabilities, you can use Apple's Motion software, which integrates seamlessly with Final Cut Pro. Motion allows for more complex animations, including particle systems, replicators, and much more.","Remember, while Final Cut Pro offers a lot of animation capabilities, it's primarily a video editing tool. If you're looking to create more complex animations or motion graphics, you might want to consider using a tool that's specifically designed for animation, like Adobe After Effects or Apple's Motion."]},{"i":"audio-editing---do-i-need-a-separate-app","l":"Audio Editing - Do I need a separate App?","p":["No, you can do complex editing in Final Cut Pro.","Some people have even cut and mixed entire broadcast television shows in Final Cut Pro."]},{"i":"audio-levels---how-to-handle","l":"Audio Levels - How to handle?","p":["You can learn more here."]},{"l":"B"},{"i":"backups---how-to-be-safe","l":"Backups - How to be safe?","p":["Also, keep in mind that Final Cut Pro libraries might only contain references to your media files if you're keeping your media external to the library, so it's important to also back up your media files.","Backing up your Final Cut Pro project files is crucial to prevent losing your work. Here are a few ways you can do this:","Before you perform any major edits or changes to a project, it's a good idea to create a backup. That way, if something goes wrong, you can go back to the backup version.","Cloud Storage: You can also use a cloud storage service like iCloud, Google Drive, or Dropbox for backups. Note that video files can be quite large, and you'll need enough storage space in your cloud service to accommodate them.","Duplicate Libraries: To manually back up your work, you can duplicate your library in Finder and zip it. - as long as you store all Media outside the library.(see below)","External Drive: You can also manually copy the library to an external hard drive or another secure location. Simply drag the library file in Finder to your backup location.","go to Library Properties > Storage Locations > Modify Settings, then","go to settings > import > leave files in place. It's mandatory to check this setting from time to time.","keeping your Media outside the library:","leave Backups in Final Cut Backups. That's in Movies/Final Cut Backups. If your Library file is on your desktop: route the Backups folder to external storage.","leave Motion Content in Motion templates folder","Library Backups: Final Cut Pro automatically creates backups of your libraries. These backups are stored in a folder named Final Cut Backups in your Movies folder. You can adjust how often these backups are made using CommandPost.","Remember to keep your backup drives or locations secure and check them regularly to make sure the backups are being performed correctly.","route Cache into a folder of your choice. This folder can be deleted at any time to free up disk-space.","route Media into a folder of your choice. This creates Final Cut Original, ...Optimized, and Proxy Media Folders eventually. Only the ...Original folder shouldn't be deleted in any situation to avoid media-loss.","Time Machine: If you're using Apple's Time Machine backup system, make sure that your Final Cut Pro library is in a location that Time Machine backs up. Time Machine backs up your entire computer at regular intervals, so this provides a kind of automatic backup."]},{"l":"C"},{"i":"captions--subtitles","l":"Captions & Subtitles","p":["Depending on your workflow, you might require anyone or more of these tools:","Caption Burner- Caption Burner is a plugin for Final Cut Pro, Premiere Pro, After Effects and Motion that lets you burn captions and subtitles into your video.","Caption Converter- Caption Converter is an app for macOS that lets you import, export, edit and translate caption and subtitle information in the following formats: iTunes Timed Text (iTT), WebVTT (VTT), SubRip (SRT), SubViewer (SUB), Adobe Encore Script and Adobe Premiere Pro Markers (CSV).","Subvert- Subvert expands on Final Cut Pro X's captioning capabilities. It makes editing with captioned footage easy and powerful.","You can learn more on Apple's site."]},{"i":"codecs---what-codecs-are-supported","l":"Codecs - What codecs are supported?","p":["You can find every supported file format and codec on Apple's site."]},{"i":"collaboration---how-to-share-libraries","l":"Collaboration - How to share libraries?","p":["If you're looking for the best collaboration workflow, check out PostLab.","You should also read the Workflow section of this site."]},{"i":"color-grading---does-it-shine","l":"Color Grading - Does it shine?","p":["Yes, Final Cut Pro has very powerful built-in colour grading tools.","There are also lots of great third party colour grading plugins.","You can also send your projects to DaVinci Resolve via FCPXML.","There's even a roundtrip template built into Resolve."]},{"i":"could-final-cut-pro-run-on-a-hackintosh","l":"Could Final Cut Pro run on a Hackintosh?","p":["Yes. There are many users and hobbyist who have built a Hackintosh to run Final Cut Pro.","However, it is not officially supported and future versions of macOS will eventually drop support of Intel.","In productions and mission critical environments, Hackintosh machines are NOT RECOMMENDED."]},{"l":"E"},{"l":"Editing with Speed","p":["Improving your editing speed in Final Cut Pro can be accomplished with a combination of technical skills, keyboard shortcuts, and optimizing your workflow. Here are some tips:","Learn Keyboard Shortcuts: Keyboard shortcuts can save a significant amount of time in the editing process. Familiarize yourself with the most commonly used ones, like \"i\" for setting an in-point, \"o\" for an out-point, and \"space\" for play/pause.","Use Proxy Media: When dealing with high-resolution video like 4K or 8K, editing can become sluggish. Use Final Cut Pro's proxy media feature, which allows you to create lower-resolution versions of your footage for smoother editing. When you're done, you can switch back to the full-resolution media for final output.","Organize Your Media: Keep your footage and assets well-organized. Use libraries, events, and keywords to categorize and manage your footage. This will make finding and accessing the clips you need much faster.","Use Presets: If you find yourself often applying the same settings or effects, save them as presets. This can be done for color grading, audio effects, and more.","Optimize Your Hardware: Make sure your computer is up to the task. Keep your software up to date, ensure you have enough free storage space, and consider upgrades to your RAM or GPU if necessary.","Batch Operations: Perform tasks such as transcoding, rendering, and exporting in batches, ideally during downtime, to avoid interrupting your editing flow.","Learn to Use the Magnetic Timeline: The magnetic timeline is one of Final Cut Pro's unique features. It helps maintain synchronization when moving clips around, which can save you time rearranging your timeline.","Color Coding: Use color coding for your clips and timelines. This can help you quickly locate related material or sequences.","Use the Skimming Feature: The skimming feature allows you to quickly review your footage and makes cutting and trimming faster.","Storyboard Your Videos: Before even starting with Final Cut Pro, have a clear idea of what you want to achieve. A storyboard or script can reduce the time spent experimenting with different edits.","Remember that like any skill, speed comes with practice. The more you use Final Cut Pro and become familiar with its features, the faster you will get."]},{"i":"effects---overview","l":"Effects - Overview","p":["Final Cut Pro comes with a variety of built-in effects that you can apply to your video clips. These include:","Video Effects: There's a broad range of video effects available in Final Cut Pro, including color corrections, distortions, blurs, stylistic effects, and more. Some popular ones include \"Vintage\" effects for a retro look, \"Keying\" effects for green screen work, and \"Light\" effects for flares and glows.","Audio Effects: Final Cut Pro also includes a variety of audio effects. These include EQ filters, noise reduction tools, reverbs, echoes, and more.","Transitions: Transitions are a type of effect that you can place between clips. Final Cut Pro includes various transition effects such as dissolves, wipes, slides, and more complex 3D transitions.","Text and Generators: Final Cut Pro includes several types of text effects and motion graphics generators. These include title effects, credits, lower thirds, backgrounds, and more.","Keying & Compositing: Final Cut Pro includes powerful tools for keying and compositing, which are used to remove backgrounds (such as with green screen footage) or combine multiple layers of video.","Speed & Time effects: With these effects, you can slow down or speed up your clips, create freeze frames, and even reverse your footage.","Color Grading: Final Cut Pro has advanced color grading tools, including color wheels, color curves, hue/saturation curves, and custom LUTs.","Stabilisation & Correction: These effects help fix issues with your footage, such as shaky camera work or lens distortion.","360° Video Effects: If you're working with 360° video, Final Cut Pro has several effects specifically designed for this format.","Remember that you can further expand Final Cut Pro's capabilities with third-party plugins. These can provide additional effects, transitions, and other capabilities. As with any effect, it's important to use these tools judiciously; while they can enhance your project, overuse can be distracting to the viewer."]},{"i":"export---how-to-share-my-work","l":"Export - How to share my work?","p":["You can learn more on Apple's site."]},{"l":"F"},{"i":"fcpxml---overview","l":"FCPXML - Overview","p":["fcpxml is FCP's propietary file format for sending timelines or even entire libraries to third party apps and plugins. It opens Final Cut to the rest of the world and even to other NLEs, like daVinci Resolve.","Have a look at tools to get an impression what's possible with fcpxml.","Final Cut usually supports the current and the previous version of fcpxml. example: 10.9 and 10.10. You'd be well advised to use the previous version, because it's usually supported by a wider range of Apps."]},{"i":"file-formats---what-file-formats-are-supported","l":"File Formats - What file formats are supported?","p":["You can find every supported file format and codec on Apple's site."]},{"l":"Final Cut Pro vs. Adobe Premiere Pro","p":["Final Cut Pro and Adobe Premiere Pro are both powerful, professional-grade video editing software, but they have some important differences.","Platform Availability: Final Cut Pro is available only on macOS, while Adobe Premiere Pro is available on both macOS and Windows. This could be a deciding factor if you're not using Apple hardware.","Pricing Model: Final Cut Pro offers a one-time purchase, which can be more affordable in the long run. On the other hand, Adobe Premiere Pro follows a subscription model that can be more flexible and also includes updates as long as the subscription is active, but tends to be more expensive over time.","Performance: Final Cut Pro is known for its performance optimization for Apple hardware, which can make it run more smoothly on Macs. Adobe Premiere Pro can also deliver good performance but may not be as optimized for specific hardware.","Interface and Workflow: Final Cut Pro uses a Magnetic Timeline, which offers a different editing experience by automatically moving clips to avoid gaps and collisions. Premiere Pro uses a more traditional track-based timeline, which can be more intuitive to those coming from other editing software. This aspect largely comes down to personal preference.","Integration with Other Software: Premiere Pro is part of the Adobe Creative Cloud, so it integrates very well with other Adobe products like After Effects and Photoshop. Final Cut Pro also has some level of integration with other Apple software like Motion and Compressor, but the Adobe ecosystem is generally more extensive.","Learning Curve: Both programs have a steep learning curve due to their advanced capabilities, but some users find Final Cut Pro to be more user-friendly initially.","Support for Formats and Codecs: Both support a wide range of video formats and codecs, but there may be differences in support for specific formats. For example, you'll need to use a third party solution called BRAW Toolbox to use BRAW files in Final Cut Pro.","Collaboration Features: Adobe Premiere Pro has a feature called \"Team Projects\" for cloud-based collaboration between editors. You'll need to use a third party solution like PostLab to easily collaborate in Final Cut Pro.","It's important to note that both are professional-grade tools capable of high-level editing and post-production work. The choice between them often comes down to personal preference, specific project requirements, and the hardware/software ecosystem you're already working in. Always try to use the latest information and, if possible, try out both programs before making a decision."]},{"l":"H"},{"i":"high-resolutions---can-fcp-handle-4k-and-8k","l":"High Resolutions - Can FCP handle 4K and 8K??","p":["Yes, Apple's Final Cut Pro can handle both 4K and 8K video editing.","Final Cut Pro supports a wide range of formats and resolutions, including 4K and 8K, and it is designed to take advantage of the high-performance CPU and GPU hardware in Mac computers. This makes it a suitable choice for professional video editing, including high-definition formats.","You can find the Final Cut Pro system requirements here."]},{"i":"how-many-final-cut-pro-users","l":"How Many Final Cut Pro Users?","p":["Richard Taylor has a great page with all this information here."]},{"l":"K"},{"l":"Key Features","p":["360-Degree VR Editing: You can import and edit 360-degree footage, and preview it in real-time with a connected VR headset.","Advanced Color Grading: Final Cut Pro offers professional color grading tools, including color wheels, color curves, hue/saturation curves, and custom LUTs.","Audio Editing and Sound Effects: Final Cut Pro offers advanced audio alignment and sound effects capabilities. It supports multi-channel audio editing and surround sound.","Clip Connections: Final Cut Pro will automatically attach clips to maintain synchronization until you explicitly move or remove them.","Compressor Integration: Final Cut Pro works seamlessly with Compressor, Apple's professional encoding software, allowing for custom output settings and packaging for popular digital platforms.","Effects: Final Cut Pro offers a large library of effects, transitions, and text tools.","Final Cut Pro is a robust video editing software with a wide range of features designed for both amateur and professional video editors. Here are some of its key features:","HDR Support: Final Cut Pro supports HDR (High Dynamic Range) video, allowing you to work with footage that contains a higher range of brightness levels.","Magnetic Timeline: This innovative feature allows you to move and trim clips without causing collisions or sync problems.","Motion Graphics Templates: Final Cut Pro integrates with Apple's Motion software, letting you create and use dynamic motion graphics templates in your projects.","Multicam Editing: Final Cut Pro allows you to work with multiple camera angles and synchronizes them automatically using audio waveforms.","Organizational Tools: Final Cut Pro provides powerful organizational tools like keyword tagging, ratings, and smart collections to keep your projects structured and efficient.","Proxy Workflows: The software provides options to transcode high-resolution video to proxy media, smaller, lower-resolution files that speed up editing on less powerful systems.","Remember, the best way to familiarize yourself with these features is to dive in and start using the software. Each project will likely present new opportunities to explore different facets of Final Cut Pro's capabilities.","Roles: Unlike traditional track-based NLEs, Final Cut Pro utilises roles which can be assigned to clips in the browser or the timeline, which provides the user with greater flexibility in timeline organization and management.","Third-Party Plugin Support: There is a large ecosystem of third-party plugins that can add new effects, transitions, and workflows to Final Cut Pro."]},{"l":"Keyboard Shortcuts","p":["You can learn more here.","Alternatively you can stumble directly into Final Cut Pro's Command Editor with COMMAND+K.","It features a very good search field and a complete list of all commands, including small descriptions for every command.","It's a built-in resource to learn more about the capabilities of Final Cut Pro."]},{"l":"L"},{"i":"libraries---how-to-organise","l":"Libraries - How to organise?","p":["Creating and managing libraries in Final Cut Pro is a fundamental part of organizing your editing projects. Here's how to create and manage libraries:"]},{"l":"Creating a Library","p":["Open Final Cut Pro.","Go to the File menu, then choose New > Library (or use the keyboard shortcut Option-Command-N).","A save dialog will appear. Choose where to save the library, then give it a name and click Save."]},{"i":"managing-libraries","l":"Managing Libraries:","p":["After creating a library, it's important to keep it organized. Here's how you can manage libraries:","Creating Events: Inside a library, you can create events, which are like folders for your media files. To create an event, select the library where you want the event, then go to File > New > Event(or use the keyboard shortcut OPTION+N).","Importing Media: You can import media directly into an event. To do this, select the event, then go to File > Import > Media(or use the keyboard shortcut COMMAND+I).","Moving and Copying Events: To move or copy events between libraries, you can simply drag and drop them in the library browser.","Renaming Libraries and Events: To rename a library or event, click on its name in the library browser, then enter the new name.","Deleting Libraries and Events: To delete a library, first make sure it's closed (select it, then go to File > Close Library). Then you can delete it in Finder, like any other file. To delete an event, select it, then press the DELETE key.","Backing Up Libraries: To back up a library, you can simply copy it in Finder to another location, like an external hard drive. You can also use the built-in library backup feature, which automatically saves backups to your Movies folder.","Remember that managing libraries effectively can help you keep your projects organized, and make it easier to find and work with your media files. Each library contains all of the media, edits, and other work associated with a project or a group of projects, so it's important to give them clear, descriptive names that make it easy to tell what they contain."]},{"l":"M"},{"i":"money---how-much-does-it-cost","l":"Money - How much does it cost?","p":["You can find the latest pricing information on the Mac App Store.","Though Final Cut Pro has everything you need to edit and share your video projects we want to point out that professional workflows may demand additional Plugins and Apps.","We recommend at least:","Sync-N-Link- Batch-sync Audio with Video and Metadata","X2Pro- AAF Audio deliveries to Pro Tools","PostLab- collaboration with other Editors and Assistant Editors","You can learn about these and many others on this site under Tools and Plugins."]},{"l":"Motion Tracking","p":["Yes, you can do object-based tracking in Final Cut Pro.","You can learn more here.","There's also a great tutorial by Brad West here."]},{"l":"Multicam Editing","p":["Some say Final Cut Pro has the best Multicam handling in the industry.","You can learn more here."]},{"l":"P"},{"i":"performance---stay-snappy","l":"Performance - Stay Snappy","p":["What is causing delay and laggy behaviour or even increased freezes?","FCP can lag with timelines longer than 30 minutes. Aside from slow drives, too less RAM or bad media management, it is the sheer amount of clips (Audio and Video) in a timeline that could hit on performance. It's hard to pin-point exactly, but it starts from around 500 assets (clips, titles, effects) in the timline.","Apple Silicon Macs do perform significantly better than Intel Macs. With M1 Pro/Max+ timelines of 40-60 minutes should be no problem.","there are several tricks and workarounds to keep long timelines without lags","workarounds","RAM should increase with the lengths of your projects. Though it's possible to edit 90 minutes with 16 GB, we would recommend 32-64 GB of RAM with feature-length timelines. This reduces the risk of freezes, when FCP has to suddenly load big Events.","working in reels:","You can segment your timeline into regions of around 20-25 minutes and put them into Compound Clips. Inside the Compounds you drive the edit. \"Outside\" the Compounds you compose the film. For example you could try out different styles of music. With smart Role-management you can turn on/off different music types, for example. important note: before export, you always have to check the joints between the reels.","stay snappy:","With the aforementioned reels-system you could have even 3-hour-timelines. you also could temporarily put a segment of the edit into a Compound to work faster and break it apart afterwards.","stay snappier:","We are big fans of transcoding beforehand. So every video that goes in is ProRes and any Audio is transcoded to WAV. There are reports of reliable workflows with (high resolution) h264-.mov on Apple Silicon. But you have to take care that the TC runs within the container for postproduction.","We would also recommend having fast thunderbolt SSD-RAIDs or even enough internal SSD-storage for all your media (4-8 TB). This practically neagtes load-times for waveforms and thumbnails, for example while zooming in or out the TL.","beware the bug","As of June 2023 there's still' a bug, when you have long titles or effects that span over the entire timeline, such as Watermarks, TC-burnin and color adjustments. This can slow down the whole system. Try to avoid those or only apply for export. You can apply them to the \"reels\"-TL, without limitations."]},{"i":"professional-film-editing---can-fcp-compete","l":"Professional Film Editing - Can FCP compete?","p":["Absolutely. Final Cut Pro has been used to cut Hollywood feature films, broadcast television, fast turnaround television, television commericials, and everything in-between.","Check out our Case Studies section and our Cut on Final Cut Pro page for examples."]},{"l":"S"},{"l":"Stabilisation","p":["You can learn more on Apple's site."]},{"l":"System Requirements","p":["You can learn more on Apple's site.","You can also learn about our recommendations on the Workflow page."]},{"l":"T"},{"i":"third-party-plugins---where-to-find","l":"Third-party Plugins - Where to find?","p":["Check out our Plugins and Workflow Extensions for a list of our favourites."]},{"i":"trial-or-free-version-available","l":"Trial or Free version available?","p":["Absolutely. There's a free 90 trial for each version that's released.","You can learn more and download on Apple's website."]},{"i":"tutorials--training","l":"Tutorials & Training","p":["You can find lots of great resources on our Training page."]},{"l":"U"},{"i":"upgradeupdate-strategy","l":"Upgrade/Update Strategy","p":["You can download the latest version of Final Cut Pro from the Mac App Store.","However, we always recommend creating a ZIP file of your previous Final Cut Pro version before updating, in case there's a bug or issue that requires you to roll back or you want to open older libraries.","Some updates also update the library file to make it compatible with new features.","In this case going back is only possible via FCPXML export. This can be tricky.","Do not update during a critical phase of a project!"]},{"i":"user-interface---how-to-customize","l":"User Interface - How to customize?","p":["Final Cut Pro offers several ways to customize the interface to better suit your workflow. Here are some of the key ways you can customize the interface:"]},{"l":"Workspaces","p":["Final Cut Pro includes a number of pre-defined workspaces, which are layouts of the interface that are tailored to different types of tasks, like color grading, audio editing, and more.","You can switch between these at any time by going to Window > Workspaces. You can also save your own custom workspaces by arranging the interface how you like, then going to Window > Workspaces > Save Workspace As."]},{"i":"viewer--timeline","l":"Viewer & Timeline","p":["You can adjust the size of the Viewer and the Timeline by dragging the border between them.","You can also adjust the size of the clips in the timeline by using the Clip Appearance button at the bottom right of the timeline."]},{"i":"browser--inspector","l":"Browser & Inspector","p":["The Browser and Inspector can be shown or hidden depending on your needs.","You can show or hide the Browser by pressing COMMAND+1, and the Inspector by pressing COMMAND+4.","You can also adjust the size of these panels by dragging their borders."]},{"l":"Secondary Display","p":["If you have a secondary display, you can use it to extend your workspace.","Go to Window > Show in Secondary Display to select what you want to display on the second screen.","Remember, the best layout depends on your specific needs and workflow. Feel free to experiment and find what works best for you."]},{"l":"V"},{"i":"vr-and-360---editing-new-dimensions","l":"VR and 360° - Editing New Dimensions","p":["Final Cut has built-in 360° and VR editing capabilities.","You can learn more on the 360° Video page or on the official support page."]},{"l":"W"},{"i":"what-is-apples-final-cut-pro","l":"What is Apple's Final Cut Pro?","p":["Final Cut Pro is a professional video editing software application developed by Apple. It provides non-linear, non-destructive editing of any QuickTime-compatible video format, including DV, HDV, P2 MXF (DVCProHD), XDCAM (via plug-in), 2K, 4K and 5K film formats, and can import projects directly from iMovie for iOS.","Key features of Final Cut Pro include:","Magnetic Timeline: This feature lets you move and trim clips without causing collisions or sync problems, making for a more efficient editing process.","Multicam Support: This allows you to automatically sync up to 64 angles of video and photos to create multicam clips.","360-Degree VR Editing: You can edit 360-degree footage and see the results in real-time with a VR headset.","Advanced Color Grading: Final Cut Pro offers professional color grading tools to give you precise control over the color settings in your video.","Motion Graphics and Effects: You can create stunning effects and sweeping graphics with Motion, including studio-quality 2D and 3D titles you can open and adjust in Final Cut Pro.","VR Headset Playback: You can view your 360-degree video in real time with a connected VR headset.","Asset Management: Clip Connections allow you to keep related clips together, making it easy to place items such as B-roll, sound effects, and music in the timeline.","Final Cut Pro is available only on macOS and it's sold as a one-time purchase rather than a subscription."]},{"i":"windows-or-linux","l":"Windows or Linux?","p":["Final Cut Pro is an Apple designed product, therefore optimized for Mac and iPad.","It's very unlikely that it will ever come to other platforms in the future.","Something missing or have a question? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Release Notes","p":["This page is designed to not just copy and paste Final Cut Pro's official release notes for Mac or iPad, but also keep track of changes/bugs/additions that weren't actually included in the official release notes.","Want to contribute? Learn more here!"]},{"i":"final-cut-pro-11-for-ipad","l":"Final Cut Pro 1.1 (for iPad)","p":["Addresses an issue where clip height adjustments would not update audio-only clips in connected storylines.","Addresses an issue where copying and pasting transform settings would unexpectedly paste clip speed.","Addresses an issue with keyboard shortcuts not working as expected in the content browser.","Build: 451.1.61","Final Cut Pro for iPad 1.1 includes the following bug fixes and enhancements:","Fixes an issue where importing media on a device with no remaining storage would cause Final Cut Pro for iPad to quit unexpectedly.","Fixes an issue where resetting audio settings would unexpectedly reset clip speed.","Fixes an issue where the Keywords window would open offscreen with the timeline minimized.","Improves reliability and performance when dragging a clip from the browser to the timeline.","Improves reliability and performance when using soundtracks and dynamic titles.","Improves reliability when retiming a clip with Scene Removal Mask applied.","Improves visual feedback and reliability when rating and adding keywords to clips while filtering clips in the browser.","Improves visual feedback when adding effects and transitions to timeline clips in Position mode.","Move the playhead backward or forward 10 frames using the keyboard shortcuts Shift-Left Arrow and Shift-Right Arrow.","Released July 18, 2023","Resolves an issue where disabled multicam audio angles would appear in the audio component list in the inspector.","Resolves an issue where importing clips with the same name would generate blank clip thumbnails.","Resolves an issue with custom fonts not appearing in the inspector.","Resolves an issue with the appearance of onscreen controls for cropping and shape masks.","Show info for browser clips using the keyboard shortcut Control-I.","Show or hide the jog wheel using the keyboard shortcut Control-Shift-W; expand or collapse it using Control-W.","Split and switch multicam clip angles using the keyboard shortcuts 1, 2, 3, and 4.","Switch the jog wheel between playhead mode and nudge mode using the keyboard shortcut Shift-W.","Turn audio skimming on or off using the keyboard shortcut Shift-S.","Turn skimming on or off using the keyboard shortcut S.","Turn snapping on or off using the keyboard shortcut N."]},{"i":"notes-from-fcp-cafe","l":"Notes from FCP Cafe:","p":["Final Cut Pro 10.6.7 on Mac uses a newer Library format than Final Cut Pro 1.1 on iPad. This means that if you want to use Transfer Toolbox to go from Mac to iPad, you should keep using Final Cut Pro 10.6.6."]},{"i":"final-cut-pro-101-for-ipad","l":"Final Cut Pro 1.0.1 (for iPad)","p":["Released June 1, 2023","Fixes an issue where the validation of third-party Audio Unit Extensions prevented Final Cut Pro for iPad from opening."]},{"i":"final-cut-pro-100-for-ipad","l":"Final Cut Pro 1.0.0 (for iPad)","p":["This is the first release of Final Cut Pro for iPad!"]},{"i":"final-cut-pro-1068","l":"Final Cut Pro 10.6.8","p":["Released August 1, 2023","Fixes an issue where video could freeze in the viewer."]},{"i":"final-cut-pro-1067","l":"Final Cut Pro 10.6.7","p":["Released July 18, 2023"]},{"i":"notes-from-fcp-cafe-1","l":"Notes from FCP Cafe:","p":["This release is incredibly buggy, and should be avoided. You can learn more here."]},{"i":"release-notes-1","l":"Release Notes:","p":["Addresses an issue where audio effects would not be reset during playback.","Fixes an issue where an Audio Units effect could have incorrect values when importing using FCPXML.","Improves waveform redrawing on expanded audio components when adjusting volume with the Touch Bar.","Resolves an issue where the Voice Isolation Amount slider would snap to 0% when trying to set a value less than 7%.","Improves reliability when retiming a clip with the Scene Removal Mask applied.","Fixes an issue where the Control Range setting in the Color Adjustments effect would be incorrectly set to SDR when importing using FCPXML."]},{"i":"final-cut-pro-1066","l":"Final Cut Pro 10.6.6","p":["Released May 23, 2023"]},{"i":"notes-from-fcp-cafe-2","l":"Notes from FCP Cafe:","p":["This release removes FxPlug2 and FxPlug3 support. Only FxPlug4 is now supported, and older plugins will no longer work. You can learn more here."]},{"i":"new-features","l":"New features:","p":["Import your project from Final Cut Pro for iPad to take advantage of blazing performance, advanced color correction tools, and more on your Mac.","Use automatic color management to easily edit HDR and SDR clips in the same project, with intelligent tone mapping of video to match your color space.","Choose from a new collection of professionally designed titles, effects, transitions, and generators to enhance the look of your videos.","Improve your color correction workflow with the Color Adjustments effect, and apply new color presets to give your clips a particular look.","Use Scene Removal Mask to remove and replace the background behind a subject, without using a green screen.","Final Cut Pro also includes these additional fixes and enhancements:","Use the new ProRes RAW Settings window for easy access to ProRes RAW ISO, color temperature, and exposure offset.","Install an Apple ProRes RAW plug-in from a camera manufacturer to view and adjust settings optimized for that camera’s sensor.","Export to HEVC at up to 8K resolution with hardware acceleration on Mac computers with Apple silicon.","Fixes an issue where multicam clips would sometimes turn black.","Export to EXR now includes an alpha channel.","Fixes an issue where adding video clips from the Photos browser would result in lower-resolution files being placed in the timeline.","Fixes an issue where Final Cut Pro could not read Sony FX9 clips with embedded LUTs.","Fixes an issue where Final Cut Pro would fail to open while an exFAT-formatted SD card with Canon clips was mounted.","Fixes an issue where the progress bar would not update when opening or updating a large library."]},{"i":"final-cut-pro-1065","l":"Final Cut Pro 10.6.5","p":["Released 24 October 2022","Supports faster exporting of H.264 or HEVC on Macs with Apple silicon.","Increases stability when disconnecting a Sidecar display on Intel Mac computers.","Improves performance when editing on a Mac with an ambient light sensor.","Fixes an issue where adding images from the Photos browser to a new project may cause additional media to be appended before the last clip."]},{"i":"final-cut-pro-1064","l":"Final Cut Pro 10.6.4","p":["9 August 2022","Fixes an issue where video frames may be out of order during playback or export."]},{"i":"final-cut-pro-1063","l":"Final Cut Pro 10.6.3","p":["Released 19 May 2022","Improves reliability when using drag and drop to replace a transition.","Improves reliability when dragging a transition onto a connected clip.","Fixes an issue where custom sound effects don't always appear in the Sound Effects browser."]},{"i":"final-cut-pro-1062","l":"Final Cut Pro 10.6.2","p":["Adds Korean language support.","Attach titles and graphics to existing tracker data in the Tracker Options on-screen-control.","Choose either pin to tracker or offset from tracker in the Tracker Options on-screen-control.","Final Cut Pro 10.6.2 also includes these additional fixes and enhancements:","Fixes an issue where opening a compound or multicam clip in a connected storyline would sometimes display an empty timeline.","Fixes an issue where opening a project after modifying its starting timecode would sometimes display an empty timeline.","Fixes an issue where video scopes would sometimes appear monochrome.","Import Magic Movie and Storyboard projects created with iMovie for iOS version 3.0 into the timeline.","Improve the clarity of speech by adjusting the level of background noise using machine learning (Requires macOS Monterey 12.3 or later).","Improves functionality when dragging photos and videos from the Photos app directly into Final Cut Pro.","Improves functionality when selecting photos and videos with the Photos browser.","Improves performance when drawing waveforms.","Improves reliability when playing audio from a clip that is reversed in the timeline.","Improves reliability when removing effects from retimed clips.","Improves reliability when using Send to Compressor with a compound clip that contains Object Tracker data.","Improves reliability when using the keyboard to navigate to captions attached to a secondary storyline.","Improves reliability when using the Object Tracker in connected storylines.","Improves reliability when using the Object Tracker with clips that don't match the project's frame rate.","Includes an alpha channel when exporting a PNG file from the timeline.","Items attached to a tracked object can be scaled in X and Y sizes uniformly.","Optimised playback and graphics performance for M1 Max and M1 Ultra on the new Mac Studio.","Quickly locate media that appears more than once in a project using highlighted clip ranges or the Timeline Index.","Released 12 April 2022","Tracking Editor automatically displays in the timeline when performing an object track."]},{"i":"final-cut-pro-1061","l":"Final Cut Pro 10.6.1","p":["Released 15 November 2021","Fixes an issue that could prevent successful import of FCPXML 1.9 and 1.10 files.","Improves performance when opening large libraries.","Fixes an issue where the Command-Z keyboard shortcut would not perform an Undo if Language was set to Spanish in System Preferences.","Fixes an issue in the Export File share destination where the Video Codec setting was unavailable after choosing Computer as the format.","Improves reliability during playback of AC3 audio.","Improves stability when removing audio effects in the inspector.","Improves stability when opening projects from the browser.","Improves stability when previewing effects in the Effects browser.","Improves stability when dragging clip ranges to Keyword Collections."]},{"i":"final-cut-pro-106","l":"Final Cut Pro 10.6","p":["Released Monday, 18 October 2021"]},{"l":"Object Tracker","p":["Drag effects, titles or generators into the viewer to automatically detect, track and match the movement of faces or objects using machine learning.","Manually add a tracker from the inspector, adjust its mask shape and choose between different tracking analysis types.","Use the Tracking Editor in the timeline to quickly delete or re-analyse segments of an existing track.","Attach additional titles or generators to existing tracks using the tracker source drop-down in the viewer.","Object tracking uses the Apple Neural Engine to accelerate video analysis on Mac computers with Apple silicon."]},{"l":"Cinematic Mode","p":["Adds support for hiding FCPXML extension during export.","Adds support for playback of Opus audio files.","Audio skimming (Shift-S) now toggles on and off when using the keyboard arrow keys to step through frames.","Choose to focus on faces or other objects by selecting them with the Cinematic tool in the viewer.","Edit videos recorded with iPhone 13 in Cinematic mode (requires macOS Monterey).","Final Cut Pro 10.6 also includes these additional fixes and enhancements:","Fixes an issue where a custom camera LUT could be ignored during a render or export.","Fixes an issue where a ProRes 4444 file lost its alpha channel after export.","Fixes an issue where audio waveforms would not redraw after an audio level change.","Fixes an issue where custom role colours would not change after choosing Undo.","Fixes an issue where pops could occur during MP3 playback.","Fixes an issue where scroll bars were not persistent when choosing to always show scroll bars in System Preferences.","Fixes an issue where thumbnails were not generated for some clips in the browser or timeline.","Improves appearance of animation paths when using the transform tool.","Improves performance when using Avid DNxHD and DNxHR media with the Avid Universal decoder on Mac computers with Apple silicon.","Improves reliability of HE-AAC v2 audio during playback.","Improves reliability of MXF audio during playback.","Improves reliability when choosing between multiple GPUs in Final Cut Pro Preferences on Mac Pro (2019).","Improves reliability when importing an XML that includes closed captioning.","Improves reliability when importing XML that contains rolling shutter or SmoothCam metadata.","Improves stability when drawing a shape mask in the viewer.","Improves stability when duplicating a project.","Improves stability when performing a trim during double speed playback.","Improves stability when removing a through edit within a compound clip.","Improves stability when selecting a library in the sidebar on Mac computers with Apple silicon.","Improves stability when using the RED RAW Settings tool with multiple RED RAW clips and images selected.","New Neon effect adds a glow to text and graphics.","Updates FCPXML to version 1.10 with new bundle format.","Use Cinematic controls in the inspector to modify the intensity of the depth effect, and add keyframes to change the effect over time.","Use the Cinematic Editor in the timeline to view or delete focus points."]},{"i":"final-cut-pro-1054","l":"Final Cut Pro 10.5.4","p":["Released Thursday, 8 July 2021","Improves stability when exporting with certain macOS Language & Region preferences.","Improves stability when playing H.264 or HEVC media."]},{"i":"final-cut-pro-1053","l":"Final Cut Pro 10.5.3","p":["Create and edit custom column views with the new column editor.","Fixes an issue in which audio waveforms would sometimes not update when using the Trim tool to perform a slip edit.","Fixes an issue in which the timeline index was not displaying active angle information for multicam clips.","Fixes an issue where adjusting audio keyframes on one side of a blade edit shifts keyframes unexpectedly on the other side.","Fixes an issue where Canon Cinema RAW Light and RED RAW media could not be imported if a camera card was mounted when launching Final Cut Pro.","Fixes an issue with the Colour Mask in which dragging to select a range with the eyedropper did not display the selection circle.","Improves reliability when app switching to Final Cut Pro with an external hard drive connected.","Improves reliability when importing an FCPXML file with missing media.","Improves reliability when quitting Final Cut Pro during a background render.","Improves reliability when using the Select Next Clip command.","Improves stability and performance when working with multicam clips that contain corrupt media.","Improves stability when copying events in the browser to a library stored on an external hard drive.","Released Thursday, 17 June 2021","Restores support for copying clips from the Finder and pasting into the timeline.","Search for media in the browser using expanded criteria including clip names, markers and notes.","Sort clips in the browser according to type, including proxy, optimised and missing media."]},{"i":"final-cut-pro-1052","l":"Final Cut Pro 10.5.2","p":["Released Thursday, 4 March 2021","Adds support for a new Universal RED plug-in enabling native RED RAW decoding and playback on both Apple silicon and Intel-based Mac computers.","Improves stability when playing back H.264 video files with corrupt data.","Fixes an issue in which text could disappear when double-clicking a value field in the inspector.","Fixes an issue in which FCPXML files created from drop frame projects would import as non-drop frame.","Fixes an issue that may prevent custom Motion titles stored inside the library from appearing in the Titles browser.","Improves stability when choosing the DPP/Editorial Services metadata view with MXF media.","Improves stability when using AirPlay with Final Cut Pro on a Mac computer with Apple silicon."]},{"i":"final-cut-pro-1051","l":"Final Cut Pro 10.5.1","p":["Released Monday, 14 December 2020","Adds an Export for YouTube and Facebook share option to create a file for uploading to those sites.","Includes stability improvements."]},{"i":"final-cut-pro-105","l":"Final Cut Pro 10.5","p":["Accelerated machine learning analysis for Smart Conform using the Apple Neural Engine on Mac computers with Apple silicon.","Export HLG high-dynamic-range projects with Dolby Vision 8.4 metadata for optimised playback on Apple Devices.","Final Cut Pro 10.5 also includes the following:","Fixes an issue in which audio sync could drift when retiming clips.","Fixes an issue in which audio waveforms would not update in the inspector after adding a filter or making a volume change.","Fixes an issue in which chapter markers were not available when sharing.","Fixes an issue in which copying stills between libraries would result in duplicate files.","Fixes an issue in which LUTs were not available in optimised or proxy clips.","Improved performance and efficiency on Mac computers with Apple silicon.","Improves appearance of HDR thumbnails in the browser and timeline.","Improves reliability when creating proxy media from non-square pixel interlaced clips.","Improves reliability when previewing built-in sound effects in the browser.","Improves reliability when using on-screen Crop controls in the viewer.","Improves reliability with Social Media content positioning when using Smart Conform to switch between vertical and horizontal frame sizes.","Improves stability when applying stabilisation and colour balance during import.","Includes built-in support for Avid DNxHR® and Avid DNxHD® decoding and playback.","Option to create a copy of your library and automatically transcode media to ProRes Proxy or H.264 at various resolutions.","Released Thursday, 12 November 2020"]},{"i":"final-cut-pro-10410","l":"Final Cut Pro 10.4.10","p":["Released 24 September 2020","Fixes an issue in which XAVC media from the Sony PXW-FX9 camera is not recognised.","Fixes an issue where brightness levels shift when switching between Better Quality and Better Performance in the viewer.","Fixes an issue in which effect keyframes are not added correctly when using on-screen controls.","Improves stability when using the transform tool with multiple clips in the timeline.","Improves reliability when exporting an FCPXML that contains Compound clips.","Addresses an issue that could prevent sharing at certain resolutions.","Fixes an issue in which sharing a Compound or Multicam clip from the timeline was disabled."]},{"i":"final-cut-pro-1049","l":"Final Cut Pro 10.4.9","p":["Released 25 August 2020"]},{"l":"Improved proxy workflows","p":["Generate proxy media in custom frame sizes of 1/8, 1/4, 1/2 or full resolution.","Choose to create proxy media in either ProRes Proxy or H.264.","Choose to display original or optimised media if proxy media is not available for some clips in your project.","Create a proxy-only copy of a library to reduce size for portability or performance."]},{"l":"Social media tools","p":["Automatically transform projects for square or vertical delivery with Smart Conform.","Display media outside the Viewer boundary when adjusting scale, rotation and position using Transform Overscan.","Add a Custom Overlay as an on-screen guide when placing text and graphics within a square or vertical frame.","Use the new Duplicate Project As command in combination with Smart Conform to quickly create a social media version of your existing project."]},{"l":"Other new features","p":["Adjust ProRes RAW camera settings such as ISO, colour temperature and exposure offset using new controls in the inspector.","Adjust timeline clip height in thumbnail-only view.","Crossfade audio on adjacent clips in one step using a menu command or keyboard shortcut.","Delete generated proxy files for individual clips in the browser.","Easily stabilise 360-degree video with one-click tools in the inspector.","Final Cut Pro 10.4.9 also includes the following:","Fixes an issue in which adjusting clip audio configuration results in the audio role resetting to its default.","Fixes an issue in which layered PSD files would not display properly when imported via XML.","Fixes an issue in which spanned clips were imported incorrectly.","Fixes an issue in which thumbnails would not update when skimming titles, generators and transitions in the browser.","Improves performance when dragging a complex project to a new Library.","Improves reliability when importing multicam camera angle metadata via XML.","Improves reliability when importing stabilisation data via XML.","Improves reliability when selecting A/V Output for 8K media on third-party hardware.","Improves reliability when selecting A/V Output while using Pro Display XDR.","Improves reliability when sharing a project via email.","Improves reliability when using the Canon XF-HEVC codec.","Improves reliability when using the Sony XAVC-L codec.","Improves stability when using Mac Pro (2019) with three Pro Display XDRs","Improves visual feedback when dragging music and sound effects from the media browser.","Preview 360-degree stereoscopic 3D video in simultaneous left- and right-eye views with the 360° Viewer.","Sort clips and projects by last modified date in list view.","Use Close Project command in a new drop-down menu above the timeline to clear project history."]},{"i":"final-cut-pro-1048","l":"Final Cut Pro 10.4.8","p":["Released 10 December 2019","Prevents an issue that could lead to visual artefacts appearing on a Mac with a Nvidia graphics card that has the Reduce Transparency accessibility preference turned on.","Fixes an issue that prevented media from appearing in the Photos library browser when using Final Cut Pro on macOS Catalina.","Fixes an issue in which Final Cut Pro would sometimes load an incorrect project into the timeline.","Resolves an issue in which thumbnails would not update when skimming titles, generators and transitions in the Browser.","Improves stability when sharing.","Improves stability when skimming media in the Browser.","Improves reliability when working with Sony XAVC media.","Improves reliability when importing and exporting CEA 608 captions."]},{"i":"final-cut-pro-1047","l":"Final Cut Pro 10.4.7","p":["Accelerates ProRes and ProRes RAW playback when using the Afterburner card on Mac Pro.","Adds HEIF support in Image Sequence exports.","Adds support for Canon XF-HEVC.","Adds support for fragmented MP4 format in HTTP live streaming.","Enhances graphics performance with support for multiple GPUs, including Radeon Pro Vega II and Radeon Pro Vega II Duo on Mac Pro.","Final Cut Pro 10.4.7 also includes the following:","Fixes an issue in which relinked media would sometimes result in empty thumbnails.","Grade HDR video with enhanced colour mask and range isolation tools.","HDR clips with LUTs applied now appear correctly when you use the Send to Compressor command.","HSL (hue, saturation and luma) controls in the Colour inspector let you select a range of colour with greater precision.","Improves reliability and performance when using the Flow transition.","Improves stability when applying noise reduction to a Rec. 2020 REDCODE RAW clip.","Lets you define keyboard shortcuts for the Add Colour Mask, Add Shape Mask and Toggle View Mask commands.","New Metal-based processing engine improves playback and accelerates graphics tasks, including rendering, compositing, real-time effects, exporting and more.","Optimises CPU performance with support for up to 28 CPU cores on Mac Pro.","Playhead now snaps to keyframes placed on audio components.","Released 7 October 2019","Select which internal or external GPU is used to accelerate graphics processing.","Simultaneously use up to three Pro Display XDR units connected to Mac Pro — two for the Final Cut Pro interface and one for dedicated monitoring.","Skimming an audio component now plays back audio as expected.","Surround panning keyframes now work as expected when reopening a library.","Timecode window remains visible when other applications are active.","View HDR video tone-mapped to compatible Standard Dynamic Range displays when using Final Cut Pro on macOS Catalina.","View, edit, grade and deliver stunning High Dynamic Range (HDR) video on Apple Pro Display XDR.","Waveform monitor lets you view luminance levels in High Dynamic Range (HDR) PQ media as you edit."]},{"i":"final-cut-pro-1046","l":"Final Cut Pro 10.4.6","p":["Released 21 March 2019","Detects media files that may be incompatible with future versions of macOS after Mojave and converts them to a compatible format.","Fixes an issue that could cause share destinations to disappear from the share menu after quitting Final Cut Pro.","Fixes an issue that could cause the workflow extension button to disappear when resizing the interface.","Fixes an issue in which the Select Clip command could incorrectly select the clip beneath the playhead.","Fixes an issue in which a successful share notification appears after the share operation was cancelled.","Fixes an issue in which frames saved to the frame browser in the Comparison Viewer may appear differently than they do in the viewer.","Fixes an issue in which frequency information for Hum Removal may not be visible in the audio inspector.","Fixes an issue in which relinked media may appear with black thumbnails in the browser and timeline.","Fixes an issue in which the share menu may be obscured behind the viewer when using Final Cut Pro in full-screen view.","Improves reliability when sharing video to YouTube."]},{"i":"final-cut-pro-1045","l":"Final Cut Pro 10.4.5","p":["Released Thursday, 17 January 2019","Improves performance when generating waveforms for clips with no audio channels.","Improves stability when sending a project to Compressor using the Shift-Command-E keyboard shortcut.","Improves stability when creating or editing titles with Arabic or Hebrew text.","Improves stability when switching tabs in the Timeline Index."]},{"i":"final-cut-pro-1044","l":"Final Cut Pro 10.4.4","p":["Released 15 November 2018"]},{"l":"Workflow extensions","p":["Extend the capabilities of Final Cut Pro with third-party extensions that open directly within the app interface.","Drag and drop clips between the extension window, browser and timeline.","Connect to existing third-party accounts to access projects, download media and purchase content.","Deep integration allows extensions to control timeline playback, navigation, clip markers and more.","Workflow extensions include tools for collaboration (Frame.io), stock media (Shutterstock) and asset management (CatDV)."]},{"l":"Batch share","p":["Export and transcode multiple clips in the browser — with or without a camera lookup table (LUT) — for fast turnaround of dailies and other reviews.","Select and export multiple projects.","Combine batch sharing with bundles to encode multiple files to multiple formats in one step.","Monitor export progress in the background tasks window."]},{"l":"Video noise reduction","p":["Apply the high-quality, drag-and-drop noise reduction effect to reduce grain and video noise.","Use simple controls to quickly adjust the look and amount of noise reduction.","Easily change processing order by dragging the noise reduction effect in the inspector.","The viewer shows the noise reduction effect when paused and disables the effect when skimming for optimal performance.","Apply 360° noise reduction to 360° video clips while preserving a flawless seam."]},{"l":"Timecode window","p":["View project and source timecode in one or more floating timecode windows.","Resize the timecode window and drag any one to a second screen.","Choose to display clip names and role names.","Colour coding in the timecode window matches the colours of roles in the timeline."]},{"l":"Comparison Viewer","p":["Open the Comparison Viewer to reference other frames for consistent colour grading across your project.","Quickly select the previous or next clip in the timeline as your reference frame.","Save any image to the frame browser to reference it later in the Comparison Viewer."]},{"l":"Tiny Planet","p":["Select the Tiny Planet mapping option when adding 360º video to a non-360° project to create interesting spherical looks.","Use the roll and tilt parameters to wrap your tiny planet effect into an infinite cylinder.","Adjust the pan parameter to move your subject horizontally within the tiny planet.","Animate the field of view to transition from a close up to a satellite view flying high above your footage.","Give 360° titles and generators a powerfully warped look by applying the Tiny Planet mapping option."]},{"i":"other-new-features-1","l":"Other new features","p":["View, edit and deliver closed captions in the SRT format, which is used by a wide range of websites, including Facebook.","Choose to burn closed captions into your video to ensure they appear at all times during playback.","When dragging in the timeline to select a secondary storyline, you can now select individual clips or the entire secondary storyline.","Instantly turn any photo or video into a comic book illustration using Comic filter, then refine the comic book look with simple controls to adjust ink edges, fill and smoothness.","New 360° transitions include Gaussian Blur, Bloom and a collection of wipes to seamlessly transition from one 360º clip to another.","Typing the first few letters of a font name jumps directly to the font in the list.","Final Cut Pro 10.4.4 also includes the following:"]},{"i":"360-video","l":"360° video","p":["360° clips added to equirectangular projects display correctly in auditions.","Fixes an issue where clicking the delete keyframe button when adjusting orientation incorrectly added a keyframe.","Fixes an issue where the keyframe navigation buttons disappear while adjusting orientation.","Resetting the orientation when using a VR headset correctly resets the Y axis.","Option dragging a connected 360º clip maintains orientation.","Dragging the orientation tool vertically in the Viewer using the on-screen controls works correctly.","Adding equirectangular media to a connected storyline that contains 360° video media remains equirectangular."]},{"l":"Audio","p":["Volume control is adjustable for a selected, connected clip.","Audio playback continues when resetting the peak indicators.","Audio playback continues when changing pan mode on an audio component.","Changing audio configuration of a clip properly clears any soloed audio components.","Fixes an issue where disabling and re-enabling audio channels when previewing an audio effect in the effects browser caused audio to be inaudible.","Fixes an issue where audio meters of third-party audio plug-ins became unresponsive when changing the order of audio effects in the Audio inspector."]},{"l":"Closed Captions","p":["Fixes an issue where disabling an invalid caption would hide other captions in the Viewer.","Embedded captions in shared files now display as expected in QuickTime Player 7.","Extract Captions from detached audio clips with embedded captions functioning as expected.","Fixes an issue where the position of an ITT caption was not being saved when set as default.","Fixes an issue where captions couldn't be embedded when connected to secondary storylines.","Fixes an issue where clicking on a CEA-608 caption near the end of a project caused Final Cut Pro to stop saving changes.","Captions can be double-clicked in the caption index to open them in the Caption editor in the timeline.","Caption timing is honoured when copying and pasting captions between projects.","Fixes an issue where Lane Headers unexpectedly move when selecting a caption and scrolling vertically."]},{"l":"Colour Correction","p":["Fixes an issue where the display order of LUTs after import were appearing alphabetically based on the content of folders.","Colour Wheels accurately reflect the values set when using the colour picker to choose a colour.","Fixes an issue where duplicate sets of built-in colour presets were sometimes visible in the Effects browser.","Reference level line in the waveform monitor remains locked in place until you click to move it or drag it out of the waveform monitor display to remove it.","Colour, Saturation and Brightness controls under the colour wheels can be reset individually within the Master, Shadows, Midtones and Highlights controls.","Fixes an issue where 10-bit HEVC rec.2020 HLG media in a Wide Gamut library would cause Final Cut Pro to quit unexpectedly.","Fixes an issue when manually white-balancing a 50fps HDR clip in an HDR library and project would cause Final Cut Pro to quit unexpectedly."]},{"l":"Effects","p":["Option clicking an audio effects preset opens all controls for each individual effect in the preset."]},{"l":"Multicam","p":["Fixes an issue where colour correcting an angle in the angle editor would cause the playhead to move unexpectedly to the beginning of the timeline."]},{"l":"Roles","p":["Select All no longer selects secondary storylines and toggles selection of components based on role of clip in selection."]},{"l":"Timeline","p":["Selected connected clips now properly follow the pointer and get placed where positioned in a non-zero starting project timeline.","Fixes an issue where an audio-only clip in a connected storyline plays video frames from the source clip that the audio is attached to.","Option-selecting connected clips now properly duplicates the expected clips in a non-zero starting project timeline.","Fixes an issue where connecting clips to a primary storyline draws overlapping audio components in expanded lanes.","Double-clicking to add an effect adds it to the top clip at the playhead position.","Join Clips and Join Captions combined into a single command in the Command Editor."]},{"l":"Titles","p":["Core Text engine ensures accurate display of Arabic letters, Indic vowel signs in Devanagari and Thai diacritics."]},{"l":"XML","p":["Shape and Effect Mask values are properly transferred via XML."]},{"i":"final-cut-pro-1043","l":"Final Cut Pro 10.4.3","p":["Support for viewing and editing ProRes RAW files from DJI Inspire 2 drone with the DJI D-Log setting.","Fixes an issue where some 25 fps-interlaced MXF files may display incorrectly.","Fixes an issue in which using Option-drag to duplicate clips in the timeline could move them later in the timeline.","Fixes an issue that caused some Panasonic P2 video files to be imported with mixed-down audio channels.","Fixes an issue in which English keyboard shortcuts were incorrectly applied to other languages.","Exported audio with certain plug-ins applied plays correctly.","Deleting unused render files from a Compound clip in the browser works correctly."]},{"i":"final-cut-pro-1042","l":"Final Cut Pro 10.4.2","p":["Fixes an issue in which selecting multiple clips using the Shift key or marquee selection could inadvertently select other clips in the timeline.","Fixes an issue in which XML imports may not preserve colour effect and colour board settings.","Dragging events between libraries no longer uses XML and correctly copies all settings and media.","Removes unnecessary settings that were included in XML 1.7 export."]},{"i":"final-cut-pro-1041","l":"Final Cut Pro 10.4.1"},{"i":"closed-captions-1","l":"Closed Captions","p":["Import caption files into a Final Cut Pro project to automatically create time-synced, connected captions in the timeline. See captions directly in the Viewer. Use the Inspector to adjust text, colour, on-screen location and timing. Create captions in multiple languages and formats in the same timeline Use the new Captions tab in the Timeline Index to search text, select captions and quickly switch between different versions of your captions. Attach captions to audio or video clips in the timeline. Extract embedded captions from video to view and edit the captions directly in Final Cut Pro. Send your project to Compressor in a single step, making it easy to create a compliant iTunes Store package with audio and video files, captions and subtitles Validation indicator instantly warns about common errors including caption overlaps, incorrect characters, invalid formatting and more. Embed captions in an exported video file or create a separate caption sidecar file. Share captioned videos directly to YouTube and Vimeo. Support for CEA-608 and iTT closed-caption formats."]},{"l":"ProRes RAW","p":["Support for ProRes RAW files lets you import, edit and grade using pristine RAW image data from the camera sensor.","RAW image data provides ultimate flexibility when adjusting highlights and shadows — ideal for HDR workflows.","Enjoy smooth playback and real-time editing on laptop and desktop Mac computers.","Highly efficient encoding reduces the size of ProRes RAW files, allowing you to fit more footage on camera cards and storage drives.","ProRes RAW preserves more of the original image data, making it an ideal format for archiving.","Work natively with ProRes RAW or ProRes RAW HQ files created by ATOMOS recorders and DJI Inspire 2 drone."]},{"l":"Enhanced export","p":["The new Roles tab in the share pane displays title, video and audio roles in a single, consolidated interface.","Quickly view and choose roles to be included in exported video files.","Roles settings and enabled/disabled states from the timeline are carried through to the share pane.","Embed closed captions in a video file or export a separate captions sidecar file in CEA-608 and iTT formats.","Final Cut Pro 10.4.1 also includes the following:"]},{"l":"360 VR","p":["Changing 360° metadata from rectilinear to equirectangular displays the clip's correct orientation.","360° Viewer has a new keyboard shortcut to reset field of view: Control-Option-Command-Delete.","Command Editor function of \"Reset Point of View\" is now listed correctly as Reset Angle.","VR headset drop frame warning preferences are honoured with a VR headset connected.","Stray pixels are no longer visible in high-contrast regions of a frame."]},{"l":"Accessibility","p":["It is easier to create custom project sizes when using accessibility applications, as accessibility width and height labels have been added for project properties."]},{"i":"audio-1","l":"Audio","p":["Volume automation is retained after a retiming effect has been applied.","Quicker display of custom audio effects interface from the audio Inspector tab when using Final Cut Pro in German.","Correct parameters are displayed in the Inspector when viewing a duplicate audio effect."]},{"l":"Browser","p":["Text in the notes field of the Inspector is saved automatically.","Text entered into the notes field in list view in the Browser displays in the Inspector.","Project thumbnails load correctly when the system is connected to an HDMI display."]},{"i":"colour-correction-1","l":"Colour Correction","p":["Colour wheel sliders retain values at 100 IRE for white and 0 IRE for black, with the ability to move above and below using colour correction controls.","Colour board exposure parameters are consistent for Rec. 2020 PQ projects.","Keyframes are properly maintained when copying and pasting colour wheel effects.","Custom white balance values are pasted correctly in Rec. 2020 HDR libraries.","View Masks selection displays the mask in the Viewer before colour grading parameters are changed."]},{"i":"effects-1","l":"Effects","p":["Camera LUT is applied correctly to deinterlaced media.","Fixes an issue in which the playhead jumps to a transition when adjusting the Ken Burns effect.","Fixes an issue where the Viewer displays black when adjusting a crop or Ken Burns effect using on-screen controls in an Audition clip.","Fixes an issue where Replicator edges appeared corrupt when exporting or rendering from projects set to Rec. 2020 HLG colour space.","Undo works correctly after a Luma Keyer effect has been applied.","Fixes an issue where a blade edit could reset an effect tick box."]},{"l":"Formats","p":["MXF Item Signal Standard is set to correct values for AVC Intra, DVCPRO HD and Uncompressed HD.","Fixes an issue where spanned Canon C300 clips are imported as multiple clips.","Clips over 4GB on FAT32 media cards including Sony and JVC source files are represented as one clip in the Import window and also honour the recorded start and stop points.","Fixes an issue where certain Sony SxS cards with large files would cause Final Cut Pro to quit unexpectedly.","XAVC/XDCAM plug-in returns the correct timecode values for BPAV file types.","Improved performance when stabilising RED RAW files on iMac Pro","Fixes an issue where the folder structure for the Panasonic AU-EVA1 is not recognised.","Loading spanned JVC XDCAM clips no longer causes Final Cut Pro to quit unexpectedly.","Failures while Sharing with AVCHD media now displays the corrupt file name in the error dialogue for easier troubleshooting.","Fixes an issue where, with multiple camera volumes mounted in the Import window, skimming in Filmstrip view displayed the incorrect clip."]},{"l":"General","p":["Changing media storage locations from one location to another and then back again on NFS storage updates the media links correctly.","After typing text into an Inspector metadata field, entering text into a second text field works correctly.","Relink Files button highlights after selection, allowing you to press Enter to commit the command.","Screen recordings created using QuickTime Player in French or Spanish apply retiming effects correctly when imported into Final Cut Pro.","Find People and Create Smart Collections After Analysis works correctly.","Fixes an issue where PSDs with an alpha from Pixelmator appeared cropped in the Viewer.","Fixes an issue where switching between video scopes and the Angle Viewer or the 360° Viewer caused the Angle Viewer to display incorrectly.","Fixes an issue where spatial conform causes Multicam clip angles to display incorrectly in the Angle Viewer."]},{"l":"Optical Flow","p":["Last frame of 100% reversed clip with optical flow retiming renders correctly.","Optical flow retiming renders correctly on clips with audio that is longer than video.","Reversed clips with optical flow applied now render in the timeline without requiring analysis on the entire source clip."]},{"l":"Rendering","p":["Render bars appear correctly on 29.97i (60 field) clip in a 30p project.","Background rendering works correctly on 29.97i (60 field) clip in a 30p project."]},{"l":"Share","p":["29.97i (60 field) clips in a 30p project export correctly.","YouTube “Visit” and “Tell a Friend” buttons open video URL correctly."]},{"l":"Stability and reliability","p":["Fixes an issue in which resetting a gradient control could cause Final Cut Pro to quit unexpectedly.","Fixes an issue in which quickly switching back and forth between View > Layouts and then selecting a colour picker could cause Final Cut Pro to quit unexpectedly.","Fixes an issue in which initiating an undo action after rearranging roles in the timeline index could cause Final Cut Pro to quit unexpectedly.","Improves stability when lifting two adjacent transitions from a Storyline.","Improves stability when skimming over or importing a corrupted MXF (MPEG-4) file.","Improves stability when importing a PSD file created in Pixelmator.","Improves stability when inserting a SxS card into a Sony SxS USB card reader.","Fixes an occasional hang after adding a title, relaunching Final Cut Pro and then modifying parameters."]},{"l":"Text","p":["On-screen controls for text in the Viewer are more responsive and properly sync with the Inspector."]},{"i":"timeline-1","l":"Timeline","p":["Timecode display no longer skips timecode or frames during processor-intensive tasks.","Rename Clip in the timeline applies to all selected clips."]},{"i":"xml-1","l":"XML","p":["Colour Balance effect now properly round trips via XML in HDR Libraries.","Final Cut Pro no longer considers the part of the library name after a full stop \".\" specified as the library location import option in FCPXML as a file extension."]},{"i":"final-cut-pro-104","l":"Final Cut Pro 10.4"},{"l":"360 VR editing","p":["Import and edit 360° equirectangular video in a wide range of formats and frame sizes. Output 360° video to a connected VR headset (Requires compatible VR headset, macOS High Sierra or later, and SteamVR. Video output to VR headset requires a Mac computer with discrete graphics running macOS High Sierra or later. 27-inch iMac with Radeon Pro 580 graphics recommended). Open the 360° viewer to simultaneously monitor headset and equirectangular views while editing. Option to track movement of a VR headset in the 360° viewer in Final Cut Pro. Add 360° effects including blurs, glows and more. Share 360° video directly to YouTube, Facebook and Vimeo. Use the 360° patch to instantly remove cameras and rigs from the scene. Use the Horizon overlay to easily change the orientation of 360° video directly in the viewer. Edit 360° video into a non-360° project and animate the pan, tilt and zoom. Place any graphic, still or video into a 360° project, then reposition and resize to fit perfectly into the 360° scene. Support for monoscopic and stereoscopic 360° video."]},{"l":"Advanced colour grading","p":["Dedicated colour tab in the inspector provides one location for all colour controls. Powerful new colour wheels improve upon traditional wheels with integrated sliders to adjust hue, saturation and brightness. Colour curves enable ultra-fine adjustments using multiple control points to change colour and contrast. Hue/saturation curves let you select a specific hue or brightness level to make adjustments while leaving other parts of the image unchanged. Use the eye dropper in the colour and hue/saturation curves to quickly sample parts of an image for adjustment. Balance Colour command includes an eye dropper for manual white balance. Apply custom LUTs from popular colour grading apps and sites. Adjust colour corrections over time with precise keyframe controls. Speed through colour correction using new keyboard shortcuts for colour adjustments and role-based timeline navigation. Colour presets are now located in the effects browser for skimmable preview and fast search."]},{"l":"High Dynamic Range","p":["Import, grade and deliver High Dynamic Range (HDR) video as Rec. 2020 HLG or Rec. 2020 PQ for HDR10. Output video to third-party HDR monitors using third-party I/O devices. Built-in waveform monitor indicates HDR brightness levels up to 10,000 nits. HDR Tools effect lets you easily tone map HDR to Standard Dynamic Range (SDR) output as well as convert between PQ and HLG formats. Option to view HDR as raw values when working without an HDR monitor."]},{"l":"Additional features","p":["Import your iMovie for iOS project directly into Final Cut Pro for advanced editing, audio work and finishing. Import, playback and editing of High Efficiency Video Coding (HEVC, also known as H.265) video clips and High Efficiency Image Format (HEIF) photos from Apple devices (HEVC and HEIF support requires macOS High Sierra or later). Send to Compressor to export video projects in the HEVC format. Adjust audio using effects plug-ins from Logic Pro X with redesigned, resizable interfaces. Support for Canon Cinema RAW Light format with additional software from Canon. Faster Optical Flow analysis using Metal 2. Support for NFS-based libraries and media. XML 1.7 with support for new colour grading controls, 360 VR effects and HDR."]},{"i":"issues-addressed-in-final-cut-pro-104","l":"Issues addressed in Final Cut Pro 10.4:","p":["Support for importing and exporting WAV files greater than 4GB as RF64 when using macOS High Sierra 10.13.","Fixes a stability issue that could occur when using Final Cut Pro on macOS High Sierra with a laptop in closed-display mode and attached to an external monitor.","Fixes an issue in which text in the Browser in List mode could occasionally disappear.","Enabling transform, crop or distort no longer closes Video Scopes.","Third-party asset management systems can now send low-resolution media to Final Cut Pro through XML import and later replace those low-resolution files with full-resolution files through another XML import.","Glue Tools Phantom Cine Toolkit works correctly with Phantom high-speed camera \"Cine\" files when editing in Final Cut Pro.","Support for new YouTube authentication protocols.","Contextual menu option to create a new project from a selection of one or more clips in the Browser.","Ability to use key commands in full-screen view when the Viewer is on a second display.","Alert dialogue appears when sharing a file if playback mode is set to proxy.","Square pixel photos at 960 x 720 and 1440 x 1080 resolutions no longer appear distorted.","The Toggle Fade In and Toggle Fade Out commands now appear under the Adjust Volume menu.","Press Ctrl-Tab to cycle through tabs in the Inspector when the Inspector is selected."]},{"i":"final-cut-pro-1034","l":"Final Cut Pro 10.3.4","p":["Resolves a stability issue when using keyboard shortcuts to trim in Secondary Storylines.","Fixes an issue in which certain editing operations could create an extra audio fade-in.","Fixes an issue in which the Share dialogue could incorrectly display a codec warning."]},{"i":"final-cut-pro-1033","l":"Final Cut Pro 10.3.3","p":["Ability to expand the width of the Inspector to view and adjust effect parameters.","Fixes issues with updating older libraries.","Faster redraw of audio waveforms when using clips that are being imported while recorded to disk.","Diamond icon in the Timeline Index to show when the user has modified display of roles in the timeline.","More colour options in the Role Editor.","Reveal in Browser correctly displays the location of the original clip in the browser.","Support for Canon Log 3 and Sony S-Log3/S-Gamut3 log processing.","Resolves an issue in which the viewer could occasionally disappear when exiting full screen.","Resolves issues in which Share to DVD could become unresponsive.","Improves font quality of DVD menu and chapter titles.","Improves image quality when creating a DVD.","Enhanced DVD User dialogue messages with embedded links to documentation."]},{"i":"final-cut-pro-1032","l":"Final Cut Pro 10.3.2","p":["Ability to add custom folders of audio files to the Sound Effects browser.","Using ripple delete on audio-only clips no longer disables the selected range.","Audio meters retain custom width after relaunch.","Improves responsiveness when editing very long projects.","Improves performance when exporting H.264 files and changing frame rate.","Exporting ProRes 4444 files with transparency using Compressor creates a correct alpha channel.","Fixes an issue in which adjusting the line spacing of multi-line titles only applied to the first line.","Fixes an issue in which secondary storylines with mixed roles could overlap in the timeline.","Fixes an issue that could prevent burning Final Cut Pro projects to DVD via Apple USB SuperDrive."]},{"i":"final-cut-pro-1031","l":"Final Cut Pro 10.3.1","p":["Fixes an issue with cropped images in the Viewer when the Language & Region System Preference is set to Spanish.","Fixes issues with updating libraries.","Fixes an issue when using Paste Attributes to copy colour correction between clips."]},{"i":"final-cut-pro-103","l":"Final Cut Pro 10.3"},{"l":"New Interface","p":["Redesigned dark interface puts the focus on your video.","Configure window layouts into custom workspaces for tasks such as organising and colour grading.","Fill a second display with the Timeline or hide the Timeline completely.","Expand the Inspector to full-screen height."]},{"l":"Magnetic Timeline 2","p":["Colour coding of clips based on roles such as dialogue, music and effects lets you understand your project at a glance.","Create, assign and customise the colours of roles to identify different types of audio and video clips.","Enhanced Timeline Index lets you drag and drop audio roles to rearrange the layout of your Timeline.","Focus button in the Timeline Index lets you highlight specific audio roles and collapse all others.","Show Audio Lanes button in the Timeline Index displays a structured Timeline layout with dedicated spaces for each audio role.","Add audio effects and keyframe audio volume changes to an entire role within a Compound Clip.","iXML support enables automatic creation and assignment of roles based on metadata from an audio field recorder.","Custom Roles assignment can be combined with iXML metadata during import.","Create and manage a unique set of roles for each Final Cut Pro library."]},{"l":"Wide Colour","p":["Images are now viewable in wide colour on supported Mac computers and external displays. Import, edit and deliver video in standard Rec. 601 and Rec. 709 colour spaces, or in wide Rec. 2020 colour space. Configure colour spaces for both libraries and projects. Log footage from ARRI, Blackmagic Design, Canon, Panasonic and Sony cameras, as well as RED RAW footage, can be manipulated in real time while preserving wide colour. Range check overlay in the viewer highlights areas out of the standard RGB range. Video scopes display wide colour in real time."]},{"l":"Support for the Touch Bar on MacBook Pro","p":["Tap to execute common functions such as volume control, fade in and out, and media import. Easily access advanced editing commands, including Override Clip Connections, Trim to Start and Trim to End. View your entire project at a glance and navigate with touch in the timeline overview."]},{"l":"More Video Formats","p":["MXF-wrapped Apple ProRes provides a flexible new format for broadcast delivery. MXF master file export uses audio roles to configure industry-standard channel layouts. Support for Canon Log2/Cinema Gamut and Panasonic V-Log. Support for Sony XAVC-L at 4K for the Sony PXW-FS7 and PXW-X70 cameras. Export AVC-Intra files"]},{"i":"additional-features-1","l":"Additional Features","p":["Ability to drag and drop clips, projects and events as XML with supported applications.","Ability to export a library to an XML file from Final Cut Pro via drag and drop.","Ability to move subroles between roles and merge subroles with other subroles in the Edit Roles window.","Ability to roll trim on adjacent connected clips.","After upgrading a library to Final Cut Pro version 10.3, you can now reveal and utilise any original iXML metadata on audio clips by selecting the clip and re-applying the role.","Align Audio to Video function quickly resets J or L cuts in the Timeline to straight cuts.","An arrow cursor has been added as a new option for the Shapes generator.","Audio effects have a global enable/disable button in the Inspector, such as video effects.","Audio metering works when previewing an audio source in the Music and Sound Effects Media Browser.","Batch relink from RED R3D files to QuickTime proxy files and back to the original R3D files instead of relinking one file at a time.","Camera angle, camera name and reel fields are now searchable using the text search function in the Browser.","Change the height of clips in the Timeline using keyboard shortcuts Command-Shift-Plus sign (+) or Command-Shift-Minus sign (-).","Choose Metadata Views in the Inspector for DPP Editorial/Services and DPP Media, which can be used when delivering Digital Production Partnership AS-11 master program files.","Consolidate custom Motion projects into individual Final Cut Pro libraries.","Copy and paste timecode to speed up numerical entry from text documents.","Customisable keyboard shortcuts for adding audio fades.","Disable an audio component in the Timeline by selecting it and pressing Delete.","Enhanced XML support lets you import projects and clips into existing events.","Final Cut Pro now correctly recognises and displays variable frame rates in the browser column when shooting XAVC-Long G with the Sony PXW-X70 camera.","Flow transition seamlessly merges jump cuts to remove pauses or mistakes in on-camera interviews.","Larger Media and Content browsers provide more space for viewing photo libraries, sound effects, music, titles and generators.","Launching Final Cut Pro by double-clicking a library in Finder bypasses the Open Libraries window.","New Broadcast Safe Effect allows you to limit video levels to a specific colour space including Rec. 601 PAL and NTSC, Rec. 709 and Rec. 2020.","New column in the Import window for Colour Profile, so you can view and select clips for import based on colour space.","New preference to assign default fade duration when adding audio fades via keyboard shortcut.","Option for continuous playback of clips in the Browser.","Option-click a component in the Audio Inspector to select that component while simultaneously disabling all other components.","Press Command-Up Arrow or Command-Down Arrow to select and navigate clips vertically in the Timeline.","Remove Effects and Remove Attributes commands let you delete specific effects from clips.","Search custom metadata in the Browser and Timeline.","Search Timeline Index for Auditions, compound clips, multicam clips and synchronised clips.","Skim and select ranges of audio files in the Music and Sound Effects browser.","SMB 3 network support enables library access on network-attached storage devices.","Support for 10-bit uncompressed MXF with standard definition video.","Support for exporting 16-bit TIFF sequences from both Final Cut Pro and Compressor.","Synchronised clips now display a distinctive badge to easily identify them in the browser and Timeline.","The Overwrite Edit function is now the fourth Edit Mode button in the top-left corner of the Timeline alongside Connect, Insert and Append.","Timecode and audio meters are now displayed in the Event Viewer.","Timecode effect displays clip name and source clip timecode in the Viewer and in exported files.","Use a Mini DisplayPort or HDMI cable for direct AV output to an external display at standard video resolutions.","Users can now create and save a custom default Generator, Title and Lower Third Title that can then be added to a Timeline with keyboard shortcuts.","When importing from a camera card with mixed media such as stills and video, the Import window displays a single volume.","When you open a Multicam clip in the Angle editor, Final Cut Pro now positions the playhead on the same frame you were viewing in the original Timeline.","XML 1.6 supports role-based audio components for Magnetic Timeline 2.","XML export of multicam clips now preserves the Angle ID, which greatly improves integration with asset management systems."]},{"i":"issues-addressed-in-final-cut-pro-103","l":"Issues addressed in Final Cut Pro 10.3:","p":["After resetting volume in the Inspector, new fade handles are not set to Linear.","After using the Share to Apple Devices 1080p option, the file information in iTunes no longer displays SD 1080.","After XML import, 4K Synchronised clips now correctly appear as 4K.","Audio levels remain consistent when trimming an Audition during playback.","Colour Masks work on clips with Log processing applied.","Fixes an issue where Log processing could remain on a clip even when None is selected in the Inspector.","Fixes an issue where the Basic Lower Third title could revert back to the original type style and not retain user changes after relaunching Final Cut Pro.","Generators with shape masks are exported at the correct size.","If you use the Replace function to replace a clip in the Timeline that has keywords and notes with a new clip that does not, the keywords and notes no longer remain in the Timeline Index.","Improved accuracy when subtracting colours from inside a Colour Mask.","In List View in the browser, audio waveforms now scale correctly to the width of the filmstrip.","Match Colour and Balance Colour can be copied and pasted to other clips using the Paste Attributes function.","Optical Flow on retimed clips with an alpha channel no longer causes transparent areas to become briefly opaque.","Resolves an issue in which lines are displayed across the timecode window on macOS Sierra.","Resolves an issue that could cause the Create Disc sharing option to hang on macOS Sierra.","Resolves an issue where Colour Balance could cause some Multicam Clips to turn white.","Support for colour-correcting Photoshop layers.","Synchronised clips now correctly round trip through XML export and import.","The Draw Mask effect works correctly when added to a clip in a Multicam angle.","Title guide snapping now works correctly.","Toggling between List View and Filmstrip View does not change the clip selection in List View.","Video-only export does not send audio out when you export a second time.","When launching Final Cut Pro with no libraries loaded, the app will remain open even if you decline to upgrade a library.","You can now continuously move the Colour Correction pucks with the arrow keys.","You can now exit full-screen playback when editing control points on a Draw Mask.","Zoom in the viewer works correctly after full-screen playback."]},{"i":"final-cut-pro-1023","l":"Final Cut Pro 10.2.3","p":["Customisable Default Effect lets you choose both a video and audio effect that is assigned to a keyboard shortcut.","4K export preset to create video files for Apple devices.","Improves speed when opening libraries on a SAN.","Resolves an issue that could affect the timecode display in the Dashboard on OS X El Capitan.","Import Canon XF-AVC including video files from the Canon C300 Mark II.","Ability to share video to multiple YouTube accounts.","Resolves an issue in which a disabled video effect could appear as Missing Effect when opening the project or when sharing to Compressor.","Addresses an issue in which black frames could appear in imported iPhone video clips that were trimmed on iPhone.","Fixes an issue that could cause the playhead to jump ahead when editing short titles.","Fixes an issue that could cause the timeline to stop playback when switching views in the Browser.","Fixes an issue in which points on a bezier shape could incorrectly switch from Linear to Smooth.","Fixes an issue in which some objects within Motion templates render with soft edges.","Adds iPhone 6s, iPhone 6s Plus, iPad Pro and Apple TV HD to the Apple Devices compatibility list in the Share window."]},{"i":"final-cut-pro-1022","l":"Final Cut Pro 10.2.2","p":["Native support for Sony XAVC-L and Panasonic AVC-Intra 4:4:4 up to 4K resolution.","Import Canon XF-AVC 8-bit video files with Canon plug-in.","Export interlaced H.264 video.","Asset management systems can include a library backup file when sharing from Final Cut Pro.","Fixes render errors that could occur when using reflective materials with 3D text.","Improves stability when swapping materials on 3D text with published parameters.","Improves performance when loading text styles.","Motion Title templates with published text layout parameters now export correctly.","Fixes an issue that could cause 3D text to appear dark when rendered.","Addresses issues with timing on certain animated effects."]},{"i":"final-cut-pro-1021","l":"Final Cut Pro 10.2.1","p":["Restores support for Panasonic AVCCAM video at 25p and 30p.","Improves accuracy when dragging to select a range in the Timeline.","Fixes an issue that may cause Final Cut Pro to quit on launch."]},{"i":"final-cut-pro-102","l":"Final Cut Pro 10.2"},{"i":"introducing-3d-titles","l":"Introducing 3D titles:","p":["Beautifully animated and easily customisable 3D text.","Simple templates to get started quickly.","Cinematic templates with built-in backgrounds and animations.","Large collection of text styles to create stunning looks with one click.","Customise your titles with hundreds of combinations of materials, lighting and edges.","Additional controls to adjust environment, shadows and more.","Instantly convert 2D titles to 3D.","Open any title in Motion to add multiple lights, cameras and tracking."]},{"i":"advanced-effects","l":"Advanced effects:","p":["Display up to four video scopes simultaneously.","Apply super ellipse Shape Mask to any clip.","Apply Draw mask to any clip, with options for linear, bezier or B-spline smoothing.","New shape and colour mask controls for every effect.","Instantly display the alpha channel for any effect mask.","Save custom effects as presets for quick access.","Colour Board merged into the new Colour Correction effect.","Rearrange the processing order of the Colour Correction effect.","Improved keyframing with better motion smoothing.","Improved optical flow for beautiful slow motion on a wider range of content.","Better performance of FxPlug plug-ins and built-in effects that use multiple frames such as Visual Echo and Trails."]},{"i":"camera-formats","l":"Camera formats:","p":["Support for Panasonic AVC-Ultra codec family.","Support for Sony XAVC S format.","Import Sony XAVC and XDCAM formats without separate plug-in.","Support for JVC H.264 Long GOP format.","GPU-accelerated RED RAW processing with support for dual GPUs.","Support for RED RAW anamorphic formats."]},{"i":"additional-features-2","l":"Additional features:","p":["You can now use Smart Collections at the event and library level.","Import window consolidates all options into a single sidebar.","GPU rendering when using Send To Compressor with support for dual GPUs.","CABAC entropy mode for multi-pass encoding.","XML 1.5 for third-party interchange. For legacy third-party applications, XML 1.4 continues to be supported."]},{"i":"final-cut-pro-102-also-includes-the-following","l":"Final Cut Pro 10.2 also includes the following:","p":["Faster drawing of audio waveforms, which improves performance especially when editing over a network.","Transform controls work correctly with photos in a secondary storyline.","Resizable Filter window for searching.","Freeze frames copy media across multiple libraries.","Slo-mo video clips from iPhone appear in the Browser with a badge.","Full-screen playback does not automatically superimpose transport controls.","Improved performance when skimming Long GOP video including AVCHD.","Exporting a Master File using i-Frame codecs such as ProRes can play in QuickTime Player before the export is completed.","Support for XAVC S video recorded at 120 fps and 240 fps.","MXF-wrapped AVC-Intra and Uncompressed files export faster."]},{"i":"final-cut-pro-1014","l":"Final Cut Pro 10.1.4","p":["Native MXF import, edit and export with the Pro Video Formats 2.0 software update.","Option to export AVC-Intra MXF files.","Support for import and editing with Panasonic AVC-LongG media.","Fixes issues with automatic library backups.","Fixes an issue where clips with certain frame rates from Canon and Sanyo cameras would not import properly.","Resolves issues that could interrupt long imports with App Nap enabled.","Stabilisation and Rolling Shutter reduction works correctly with 240 fps video."]},{"i":"final-cut-pro-1013","l":"Final Cut Pro 10.1.3","p":["Fixes reliability issues when burning a Blu-ray Disc or creating a Blu-ray disk image.","Colour corrections you paste between clips are retained during Share.","Effects you apply to clips in the browser in prior versions of the app are retained when adding those clips to the timeline.","XML round-trip imports correctly when using gap clips.","Improves reliability of automatic library backups.","Improves stability when skimming growing files in the Browser."]},{"i":"final-cut-pro-1012","l":"Final Cut Pro 10.1.2","p":["Adjust relative and absolute volume of a clip or range selection.","Apply a standard (Rec. 709) look in real time to High Dynamic Range and wide colour gamut video from ARRI, Blackmagic Design, Canon and Sony cameras.","Audio recording improvements including countdown and automatic Audition creation from multiple takes.","Automatically apply an ARRI embedded 3D LUT from the new AMIRA camera.","Create keywords from Finder Tags when importing media.","Easily delete optimised, proxy and rendered media from within Final Cut Pro.","Export entire library as a single XML file.","Fast export of cuts-only projects containing XDCAM media.","Faster opening, closing, copying and overall performance when working with large libraries.","Final Cut Pro 10.1.2 also addresses the following issues","Import a clip by dragging directly into the Browser.","Improved speed and accuracy when synchronising clips.","Linear and smooth motion interpolation between keyframes applies to both time and distance.","Optimised, proxy and rendered media can be stored at any location outside the library.","Option to show only unused media in the Browser.","Option to sort events by date or name in the Libraries list.","Selecting a library displays key metadata in the Inspector.","Share 4K video to Vimeo.","Support for Apple ProRes 4444 XQ.","Used media indicators for Compound, Multicam and Synced clips.","View and set storage locations for each of your libraries using the Library Properties inspector."]},{"i":"final-cut-pro-1011","l":"Final Cut Pro 10.1.1","p":["Preserves media files if an external drive or network is disconnected while consolidating a library.","Resolves an issue with loading audio content in the Music and Sound Browser.","Fixes a stability issue when applying a Motion effect with Scroll Text behaviour.","Faster switching between proxy media and original or optimised media.","Improves Timeline responsiveness with very large projects."]},{"i":"final-cut-pro-101","l":"Final Cut Pro 10.1","p":["4K content including titles, transitions and generators.","5.1 surround sound audio originating from a camera such as AVCHD will no longer be down-mixed to stereo during import.","Ability to roll audio with J- and L-cut splits open.","Add precise retime speeds by entering them numerically in the timeline.","API for custom Share operations using third-party software.","Audio fade handles on individual audio channels in the timeline.","Automatically back up libraries to a user-specified drive or network location.","Blade and move audio in J- and L-cuts.","Clips can be trimmed completely out of a timeline when using the rolling trim function.","Custom project frame sizes.","Detach audio with Multicam clips in the timeline to manipulate audio and video separately.","Easily move, copy and paste multiple keyframes.","Easily open and close individual libraries to load just the material you need.","Effects parameters, fonts and text size included in XML metadata.","Final Cut Pro 10.1 also improves overall stability and performance, and addresses the following issues:","FxPlug 3 with custom plug-in interfaces and dual-GPU support.","If you have transcoded RED RAW files to ProRes through a third-party application, you can relink to the original RED files within Final Cut Pro.","Import photos from iOS devices.","Improved image stabilisation with InertiaCam and Tripod mode.","Improved performance when modifying or adding keywords to many clips at once.","Improved performance with large projects.","Improved support for growing media and edit while ingesting.","It is much easier to move clips with transitions in the timeline and lift them out of the Primary Storyline with transitions preserved.","Join Through Edit command removes bladed cuts to clips in the timeline.","Libraries allow you to gather multiple events and projects within a single bundle.","Loading a library from a SAN is significantly faster.","Make video- or audio-only edits into the timeline with Multicam Clips as sources.","Media management functions can be cancelled with undo.","Native support for .MTS and .MT2S files from AVCHD cameras.","Non-rippling retime option.","One step Replace and retime.","Optimised playback and rendering using dual GPUs in the new Mac Pro.","Option for the linear animation with Ken Burns effect.","Option to hide the Event browser to gain more screen space for viewing.","Option to import camera media to locations inside or outside a library.","Project Snapshots let you quickly capture the project state for fast versioning.","Proxy and playback quality controls accessible in Viewer menu.","Quitting the application cancels background processes.","Share directly to Chinese video sites Youku and Tudou.","Share directly to YouTube at 4K resolution.","Spanish language localisation.","Support for portrait/landscape metadata in still images.","Through edits displayed on all clip types.","Transform correctly maintains linear motion on all keyframes.","Used media indicators on source clips.","Video monitoring up to 4K via Thunderbolt 2 and HDMI on selected Mac computers.","You can eject drives once the libraries on those drives are closed."]},{"i":"final-cut-pro-1009","l":"Final Cut Pro 10.0.9","p":["Addresses issues resulting in green artefacts when using Sony XAVC media.","Fixes several issues related to interlaced media and retimed segments, which could cause exports to fail.","Includes stability improvements."]},{"i":"final-cut-pro-1008","l":"Final Cut Pro 10.0.8","p":["Support for Sony XAVC codec up to 4K resolution.","Option to display ProRes Log C files from ARRI ALEXA cameras with standard Rec. 709 colour and contrast levels.","Resolves an issue where some third-party effects generated green frames during render.","Resolves performance issues that could occur with certain titles and effects.","Time-reversed clips render in the background.","Ability to use key commands to adjust Clip Appearance settings in the timeline.","Ability to view reel number metadata located in the timecode track of video files.","Mono audio files in a surround project export with correct volume levels.","Drop zones no longer reset to the first frame of video after application restart.","Fixes a performance issue that resulted from selecting multiple ranges on a single clip.","Fixes an issue where the Play Around function did not work properly on certain clips when viewed through external video devices."]},{"i":"final-cut-pro-1007","l":"Final Cut Pro 10.0.7","p":["The Letterbox effect Offset slider is restored.","Fixes an issue that could occur when creating a single-layer DVD.","Fixes an issue in which some third-party effects could cause Final Cut Pro to stop responding during background rendering.","Adds support for editing MXF files that are still ingesting.","Fixes an issue with rendering Motion Templates containing Image Units.","Fixes an issue with the display of the Modify RED RAW settings button in synchronised and compound clips.","Fixes an issue with the upload of clips that are larger than 1GB to Vimeo.","Fixes an issue in which an incorrect frame size is used with filters on two adjacent clips with different pixel aspect ratio."]},{"i":"final-cut-pro-1006","l":"Final Cut Pro 10.0.6","p":["Ability to add chapter markers in the timeline for export to video files, DVD and Blu-ray disc, with an option for setting custom poster frames.","Ability to import SDII audio files.","Ability to manually tag clips as anamorphic using the Anamorphic Override option in the Inspector.","Add a freeze frame to your timeline with a single keystroke (Option-F).","Apply a drop shadow effect with intuitive on-screen controls to adjust position, edge falloff, angle and more.","Background Rendering uses the GPU on the graphics card, enabling CPU-based processes such as transcoding and proxy creation to continue uninterrupted while effects are rendering.","Blade All command allows the blade tool to cut across all storylines and connected clips in a single click. Press Shift while blading to blade all.","Clicking on a clip in the timeline selects the clip without moving the playhead. Option-clicking on a clip selects the clip and moves the playhead.","Combine audio from different angles within a Multicam Clip (Command-Option-click in the Angle Viewer).","Compound Clip creation in the timeline now saves the clip in the Event Browser for re-use in other projects. Changes to the original Compound Clip will update all copies of that Compound Clip across projects. The Reference New Parent Clip command allows you to select any Compound Clip in the timeline and save a duplicate to an event in a single step.","Custom metadata views can be created and used as presets for exporting XML. Importing XML with custom metadata fields preserves data in Final Cut Pro.","DSLRs and other cameras that use the Picture Transfer Protocol (PTP) for data transfer will now appear in the Import window when directly connected to the computer.","Dual viewers, each with a video scope display, let you compare shots to match action and colour. Scopes include a vertical layout option so they can be displayed below the Viewer and the Event Viewer.","Expand multichannel audio files directly in the timeline for precise editing of individual audio channels.","Export a selected range in the Event Browser or the project timeline.","Final Cut Pro 10.0.6 improves overall stability and performance, and adds these fixes:","Flexible Clip Connections allow you to keep Connected Clips in place by pressing the ` key when slipping, sliding or moving clips in the Primary Storyline.","Generators now support the 1.8:1 aspect ratio, which is used with a range of frame sizes.","Improves behaviour when moving clips to different vertical positions in the timeline.","Improves system performance and smaller project sizes when working with Compound Clips.","Loop Play with Play Selection enabled will continuously loop playback while making adjustments in the Inspector.","MXF plug-in support that allows you to work natively with MXF files from import through to delivery using third-party plug-ins. This is ideal for importing archived media with custom metadata and exporting media with metadata to an asset management system.","Paste attributes window lets you choose specific effects to copy between clips.","Range selection now preserves start and end points on clips in the Event Browser. Use the Command key to create multiple range selections, even on a single clip.","RED camera support with native REDCODE RAW editing up to 5K and optional transcode to Apple ProRes 4444 or ProRes Proxy. Ability to adjust RAW images with debayer controls directly in Final Cut Pro.","Redesigned Share interface for streamlined exporting. Deliver to multiple destinations in one step by creating a custom Bundle.","Select a new default transition by Control-clicking on the thumbnail in the Transitions Browser and choosing Make Default. The default transition can be applied to any clip by pressing Command-T.","Unified import window provides single interface for transferring media from file-based cameras, networks and folders of files. Choose between Filmstrip and List views for browsing media, and save frequently used locations to the Favourites sidebar for fast access.","Video dissolves now default to the linear Video look instead of the Film look that includes some ease in and ease out.","When duplicating an event or project where media resides on shared storage, only the links will be copied. This speeds up duplicating or moving events and projects to another editing station that is linked to the same shared media.","XML 1.2 features improved metadata import and export for richer integration with third-party apps."]},{"i":"final-cut-pro-1005","l":"Final Cut Pro 10.0.5","p":["Final Cut Pro 10.0.5 improves overall stability and is enhanced for the MacBook Pro (Retina, Mid 2012).","Fixes an issue in which changes were not properly saved when working off an SAN.","Improves performance when switching between projects on a SAN.","Fixes an issue that could lead to Multicam Clips losing their Roles after relaunching Final Cut Pro.","Allows for YouTube uploads longer than 15 minutes.","Correctly marks in and out points for spanned clips imported using the Sony Camera Import Plug-in PDZK-LT2."]},{"i":"final-cut-pro-1004","l":"Final Cut Pro 10.0.4","p":["Improves image quality and responsiveness of broadcast monitoring with compatible third-party PCIe and Thunderbolt I/O devices.","Improves performance of multicam syncing and editing.","Adds language support for Simplified Chinese.","Adds a Share option for 1080p video on compatible iOS devices.","Final Cut Pro 10.0.4 also addresses the following issues:","Assigns stereo as the default audio channel setting for new projects.","Includes multicam metadata in XML project export.","Fixes an issue in which video superimposed over a background with an alpha channel could appear differently in Viewer before and after render.","Fixes an issue that caused some titles to be rendered again after each application launch."]},{"i":"final-cut-pro-1003","l":"Final Cut Pro 10.0.3","p":["Ability to import and edit layered Photoshop graphics.","Ability to reorder colour corrections in the Inspector.","Ability to search text added to Favourite and Reject ranges.","Advanced chroma keying with controls for colour sampling and edge quality.","Batch offset for clip date and time.","Beta version of broadcast monitoring with third-party PCIe and Thunderbolt I/O devices.","Final Cut Pro 10.0.3 also improves overall stability and performance, and addresses the following issues:","Fixes an issue in which constant speed retiming was not properly applied when using the Paste Effects command.","Fixes an issue that affected audio solo while skimming.","Improves keyframing behaviour in the Inspector, with keyframes automatically added when moving to a new point in time and adjusting a parameter.","Improves performance when applying an effect from the Effect Browser.","Improves performance when editing text in titles.","Media relink for manual reconnect of projects and Events to new media.","Modifies transition behaviour so that all newly added transitions use available media and maintain project length.","Multicam editing with automatic sync and support for mixed formats, mixed frame rates and up to 64 camera angles.","Multiple improvements to the Colour Board, including new key commands, editable numeric fields and adjustable parameters that act like infinite sliders when dragged.","Resolves issues related to using Synchronise Clips with media containing a silent audio channel.","Reveal in Event Browser shows clip range in the filmstrip while in List View.","XML 1.1 with support for primary colour grades, effect parameters and audio keyframes."]},{"i":"final-cut-pro-1002","l":"Final Cut Pro 10.0.2","p":["Fixes an issue in which a title may revert to the default font after restarting Final Cut Pro.","Resolves an issue that could cause files recorded with certain third-party mobile devices to play back incorrectly.","Addresses a stability issue caused by changing the start time on a Compound Clip."]},{"i":"final-cut-pro-1001","l":"Final Cut Pro 10.0.1","p":["Access the new Tribute theme with four animated titles and a matching transition.","Add transitions to connected clips in a single step.","Adds the ability to always use the startup volume or Time Machine volumes for media storage.","Adds the ability to eject camera cards while Final Cut Pro is open.","Adds the ability to import DSLR video from Aperture and iPhoto libraries through the Photos Browser.","Enable full-screen view in OS X Lion.","Export audio and video stems as a single multitrack QuickTime movie or as separate files using Roles.","Fixes an issue in which alpha channels in transitions were not properly preserved.","Fixes an issue in which custom ICC colour profiles affected the image in the Viewer.","Import and export XML to support third-party workflows.","Improves audio syncing performance and the ability to sync different frame sizes and frame rates.","Improves the performance and reliability of automatic saving.","Improves the quality of video retiming when applying slow motion or when working with interlaced video.","Place Projects and Events on Xsan to improve collaboration between editors.","Resolves an issue that could cause titles to accidentally move in the timeline.","Set custom starting timecode for your projects.","Speed up delivery with GPU-accelerated export.","This update also improves overall stability and performance, and addresses the following issues:"]},{"l":"Discuss this page"}],[{"l":"iPad","p":["This section is dedicated to Final Cut Pro for iPad."]},{"l":"User Manual","p":["You can find the Final Cut Pro for iPad manual here."]},{"l":"Apple Support","p":["You can find the official Apple Support site here."]},{"l":"Introducing Final Cut Pro for iPad","p":["The amazing Iain Anderson has released a new free online training course for Final Cut Pro for iPad.","You can learn more here."]},{"i":"richard-taylor---fcpxtv","l":"Richard Taylor - FCPX.TV","p":["Richard Taylor has an EPIC list of all the latest iPad videos and articles on FCPX.TV."]},{"i":"final-cut-pro-for-ipad-tutorials-tips--tricks","l":"Final Cut Pro for iPad Tutorials, Tips & Tricks","p":["Bascomb Productions has a YouTube series covering Final Cut Pro for iPad."]},{"l":"Transfer Toolbox","p":["Transfer Toolbox allows you to convert Final Cut Pro (for Mac) libraries into Final Cut Pro (for iPad) projects!","You can now easily get from your Desktop to your iPad! Simply drag your existing Final Cut Pro library into the application's drop zone.","You should ensure your library only has a single event, and all project timecode starts at 00:00:00:00.","All Motion Content and Media should be contained within the Library.","If you have custom fonts on the Mac Final Cut Pro library, you should manually install them on the iPad before importing the project.","Transfer Toolbox requires Final Cut Pro 10.6.6 or later."]},{"l":"Using an iPad as a second display for your Mac","p":["You can use your iPad as a second display for your Mac, and make use of Final Cut Pro's Dual Displays Workspace.","You can find about how to setup Sidecar on Apple's support site."]},{"i":"using-an-ipad-as-av-output-for-mac","l":"Using an iPad as A/V Output for Mac","p":["You can absolutely use your iPad as an A/V Output for Final Cut Pro, however it requires some extra setup.","First you must install NDI Tools on your Mac by downloading here.","Once you've installed and restarted your Mac, an NDI option will appear in your A/V Output settings in Final Cut Pro:","You can adjust the NDI video format and frame rate in System Preferences:","You can then install an app such as NDI Monitor on your iPad.","For best quality, it's important to enable Hi-Res NDI and Retina Display in the NDI Monitor settings in the Settings app.","You can now stream from your Mac to your iPad over NDI, just like a regular A/V Output device.","You can learn more about how to Play media on an external display in Final Cut Pro for Mac on the Apple support site.","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Accessibility","p":["This section is dedicated to Accessibility."]},{"l":"Mac","p":["Here's an amazing video of Christopher Hills using Final Cut Pro on Mac using Switch Control.","Apple believe that technology should be accessible to everyone — including Sady Paulson, who uses Switch Control on a Mac to share her thoughts on doing what you love.","It's likely that many people don't realize that a blind person is able to edit videos. Unsightly Opinions shows how they edit their videos as blind and low vision editors using their editor of choice, Final Cut Pro X."]},{"l":"iPad","p":["Here's an amazing video of Christopher Hills using Final Cut Pro on iPad using Switch Control."]},{"l":"Discuss this page"}],[{"l":"Camera Formats","p":["This page contains a collection of the latest Final Cut Pro Camera Formats.","You can find the full list of Cameras supported by Final Cut Pro on Apple's site.","Is there a camera format missing? Make an edit!"]},{"l":"B"},{"l":"BRAW Toolbox","p":["BRAW Toolbox allows you to import Blackmagic RAW files directly into Final Cut Pro without transcoding.","No more waiting. No more transcoding. No more massive ProRes files.","Save hours of time, and terabytes of storage!","The BRAW Toolbox Workflow Extension allows you to prepare all of your footage prior to import. You can easily and quickly change all the RAW parameters, and copy and paste settings from different BRAW clips. You can even save and restore Presets that contain specific parameters, saving time for example, if you always use the same Gamut & Gamma.","Once imported into Final Cut Pro, you can still modify the RAW parameters at any time.","You can even keyframe the ISO, Exposure, Color Temp, Tint and Custom Gamma Controls!","BRAW Toolbox comes with a Metadata View that allows you to view every piece of BRAW Metadata directly within the Final Cut Pro Inspector.","There are automatic Decode Quality options for both HD and UltraHD projects, and you can also work at a low Decode Quality, then apply a \"Global Setting\" to force Full Quality prior to exporting - meaning you never have to worry about creating proxies for performance. BRAW Toolbox gives you complete freedom and flexibility.","You can also use the Workflow Extension to send your project/timeline to DaVinci Resolve for grading - all using BRAW files directly from the camera!","BRAW Toolbox requires Final Cut Pro 10.6.5 or later."]},{"l":"User Reviews","p":["This developer did what Apple Couldn't/Wouldn't This app is a great solution to a common problem Final Cut Pro users have: getting Blackmagic Raw footage into the app. At first it might seem like a bizarre workaround, but you only have to go through the process of setting it up once, and then you can easily import your Blackmagic footage right into FCP. Honestly, from that point on it works so incredibly well that I really struggle to understand why Apple has made it so difficult. Except it's not difficult, not anymore. This is great software: a small developer solving a problem that a big one (Apple) can't. That's innovation, my friends.","moosefuel – Feb 3, 2023 (Apple App Store Review)","The tool we have dreamed of is here. For lovers of Final Cut Pro who have struggled with the endless BRAW proxy XML loop, this is a dream come true. BRAW natively inside Final Cut. Controls for RAW adjustments at your fingertips. Is it the full Resolve interface? No, doesnt need to be, Between BRAW ToolBox and FCP, most edits can be done natively without ever having the leave the Final Cut NLE. If you shoot any BRAW camera, this is the best of both worlds if you live in the FCP ecosystem. Thank you latenightfilms team for this, its a huge step forward and a wonderful plugin.","Chasing Photography – May 16, 2023 (Apple App Store Review)","Perfect! Just perfect.","Viaswage – Feb 18, 2023 (Apple App Store Review)","Great! Love this! thank you!","NarimanGafurov – Feb 6, 2023 (Apple App Store Review)","UMMMMMM THANK YOU, YOU'RE A GENIUS I've needed this for years!!!!!! You are a genius and this is incredible!!! Thank you so much!!! No clue how BM never made this.","gordonfromvan – Feb 4, 2023 (Apple App Store Review)","I've been waiting for this! I can finally use my two Blackmagic cameras and shoot in BRAW. As a Final Cut Pro editor, I'm really excited. The app is working great! I really appreciate the team at LateNite for all the hard work it took to get this up and running. Well worth the money to be able to handle BRAW seamlessly. Scott_Hartman – Feb 2, 2023 (Apple App Store Review)","Boom! Such an amazing plugin and works fantastic! Grant Digital Sky – Feb 2, 2023 (Apple App Store Review)","Absolutely Amazing. Solves a massive problem and works beautifully! Jmurphy8503 – Jan 31, 2023 (Apple App Store Review)","The impossible made possible. Amazing to work natively with BRAW in my favourite editor. Thank you! MadMitch1993 – Jan 30, 2023 (Apple App Store Review)"]},{"l":"C"},{"l":"Canon RAW Plugin","p":["Canon RAW Plugin for Final Cut Pro is plugin software for importing and editing Canon RAW(CRM) clips with Final Cut Pro, which runs on macOS systems made by Apple Inc."]},{"l":"R"},{"l":"RED Apple Workflow Installer","p":["The RED® Apple® Workflow Installer is for Mac® systems running Final Cut Pro. You can use the plugins in the RED Apple Workflow Installer to import REDCODE® RAW clips as native REDCODE media or wrapped in QuickTime®. You also have the option to transcode clips directly to Apple ProRes codec."]},{"l":"Discuss this page"}],[{"i":"360-video","l":"360° Video","p":["Using Final Cut Pro, you can import, edit, and share 360° video to provide your audience with immersive viewing experiences.","360° video (sometimes called spherical video) is footage captured by special cameras that point lenses in all directions to create a panoramic sphere of video that surrounds the viewer—as if the video were projected onto the inside of a hollow globe.","Viewers can watch 360° video in several ways. With a virtual reality (VR) headset, viewers can turn their heads to see different parts of a scene. This creates the illusion of being physically in the space. Viewers can also watch 360° video and navigate to all parts of the scene by turning or rotating an iPhone or iPad or by scrolling a rectangular window on a computer."]},{"l":"Alex4D Blog Post","p":["Alex4D has written a very detailed post covering everything you need to know about 360° spherical video"]},{"l":"Final Cut Pro User Guide","p":["You can read about 360° Video on the Final Cut Pro User Guide."]},{"i":"rectilinear-s3d-sources-within-a-stereoscopic-360-project","l":"Rectilinear S3D sources within a stereoscopic 360° project","p":["Rectilinear S3D is not natively supported in Final Cut Pro, but it is pretty easy to get this workflow going with some knowledge of Compound Clips and masking.","Here's an example of what can be done with Final Cut Pro:","Since, by default, any rectilinear “normal” clip will be projected into stereoscopic space within the stereoscopic equirectangular, all you have to do is connect the left clip on top of the right clip, make the left clip a compound clip, and then crop or mask out the bottom 50% of the compound clip to reveal the right clip underneath.","If you would like to see Rectilinear S3D natively in Final Cut Pro, please file an enhancement request.","Currently there's no way to master rectilinear S3D (non-360) on its own.","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Articles","p":["This section of the site is dedicated to linking to great external articles, as well as providing a space to write FCP Cafe specific articles.","There's also a massive collection of Final Cut Pro articles over at macProVideo.com.","Richard Taylor also links to a lot of great articles on FCPX.TV.","In the coming weeks we'll update this page with direct links to relevant and useful articles."]},{"l":"Pro Video Coalition","p":["Pro Video Coalition has an awesome collection of Final Cut Pro blogs and articles.","Why ProRes? (August 2022) by Iain Anderson","Understanding Color Management (August 2022) by Iain Anderson"]},{"i":"fcpco","l":"fcp.co","p":["A New Script-focused Feature Film Workflow for Final Cut Pro (Iain Anderson - 11 Nov 2022)","A Week with the New Mac Studio M1 Ultra and Studio Display (Peter Wiggins - 17 Mar 2022)","Apple Motion: Sweeping Lines Logo Tutorial (Peter Wiggins - 08 Feb 2023)","Apple Response to “Final Cut Pro in TV and Film” Open Letter (Peter Wiggins - 18 May 2022)","Apple Updates Final Cut Pro to 10.6.2, Motion to 5.6.1 and Compressor to 4.6.1 (Peter Wiggins - 12 Apr 2022)","Apple: How the Mac Studio Was Built for the New Generation of Creative Pros (Peter Wiggins - 24 Mar 2022)","Backup a Large RAID Using the OWC Drive Dock (Peter Wiggins - 31 Oct 2022)","BeatMark Pro: Music-driven Video Editing for Final Cut Pro (Alex Raccuglia - 27 Apr 2022)","BRAW Toolbox and Gyroflow Toolbox (Iain Anderson - 26 Jan 2023)","Bright Future; Slow Progress (Iain Anderson - 27 Dec 2022)","Diary of a Final Cut Pro Plugin Writer #1 (Peter Wiggins - 28 Oct 2022)","Dupe Detection and ML Voice Isolation Coming in 10.6.2 (Peter Wiggins - 23 Mar 2022)","evrExpanse 3 Adds Features for EXIF Metadata XML Import into Final Cut Pro (Peter Wiggins - 08 Feb 2023)","fcp.co is an entire site dedicated to Final Cut Pro, so there's lots of great articles there.","FCP.co What Happened & Are You Back? (Peter Wiggins - 27 Oct 2022)","Get Better Vignettes in Final Cut Pro - No Plugins! (Peter Wiggins - 01 Nov 2022)","Get More Thunderbolt Ports With a Thunderbolt Hub (Peter Wiggins - 09 Nov 2022)","In Love with Final Cut Pro (Joaquin Gonzalez Dajer - 10 Feb 2023)","Learn FCP Live with Nick Harauz (Nick Harauz - 25 May 2022)","Native BRAW Editing in Final Cut Pro with Chris Hocking (Peter Wiggins - 08 Feb 2023)","New Macs with M2 Chips and macOS Ventura Announced at WWDC (Peter Wiggins - 07 Jun 2022)","October 2022: Updates to Final Cut Pro, Motion, and Compressor (Iain Anderson - 26 Oct 2022)","Official Launch Day of FMC's FCP Training Courses & Certification (Peter Wiggins - 23 May 2022)","Solve Review and Approval Problems for Music on Video with Freque (Peter Wiggins - 04 Nov 2022)","Sound for Video Solved! (Gabe - 17 May 2022)","The Very Best One-Key Shortcuts for Final Cut Pro (Iain Anderson - 18 Nov 2022)","Timbrée or How to Use Stamps to Build a Story (Peter Wiggins - 09 May 2023)","Use Movie Clips in YouTube Videos with a Couple of Clicks (Peter Wiggins - 03 Nov 2022)","Using an OLED TV as a Monitor — Crazy or Genius? (Iain Anderson - 29 Nov 2022)","Watchtower of China: Leonardo Dalessandri Releases Another Cinematic Masterpiece, Entirely Created in Final Cut Pro (Ronny Courtens - 21 Jun 2022)","Why I Switched from Premiere Pro to Final Cut Pro (Peter Wiggins - 15 Mar 2022)"]},{"l":"Discuss this page"}],[{"l":"Educational","p":["This page is designed to offer information for educational institutes such as schools, universities and colleges."]},{"l":"Educational Pricing","p":["Educational institutions can get a 50% discount when they purchase 20 or more copies through Apple School Manager.","Please contact Apple if you need help with Educational Pricing."]},{"l":"Pro Apps Bundle for Education","p":["The Pro Apps Bundle is a collection of five industry-leading apps from Apple that deliver powerful creative tools for video editors and musicians.","The bundle includes the following software, all optimised for macOS and the latest Mac hardware:","Final Cut Pro","Logic Pro","Motion","Compressor","MainStage","You can learn more here."]},{"l":"Discuss this page"}],[{"l":"History","p":["This section is dedicated to the history and backstory of Final Cut Pro.","In the world of video editing and post-production, few software have a legacy as rich as Apple's Final Cut Pro. Known for its powerful capabilities and intuitive interface, Final Cut Pro has come a long way since its inception. Today, let's explore this extraordinary journey of innovation and technological progression."]},{"l":"The Genesis of an Idea","p":["The story begins with Randy Ubillos, a name widely associated with the creation of the first three versions of Adobe Premiere Pro. His team's knack for developing professional video editing programs was then recognized by Macromedia, leading them to embark on a new project, KeyGrip.","KeyGrip was a more professional video editing program, built on Apple's QuickTime, which was intended for Macromedia's portfolio. However, due to licensing issues with Truevision, and Macromedia's shift towards web market solutions, the project hit a roadblock. Macromedia decided to sell its desktop applications, including the embryonic KeyGrip."]},{"l":"Birth of the Final Cut Pro","p":["In a pivotal year of 1998, KeyGrip was renamed Final Cut, and showcased as a 0.9 alpha version at the NAB Show. With no buyers, Apple, recognizing the potential of the software, stepped in and acquired the development team.","Contrary to expectations, Apple continued the development work, despite the lack of a buyer. The team made significant enhancements to the software, such as adding FireWire support, and finally, in 1999, it was released as Final Cut Pro at the NAB show."]},{"l":"Building a Community","p":["To ensure that Final Cut Pro received solid support from the start, Apple adopted an aggressive marketing and training strategy. They joined forces with DVcreators.net to launch a training disc, \"Final Cut Pro PowerStart\", and hosted hundreds of free and paid seminars worldwide. This strategy significantly boosted the software's early market visibility and success.","During this time, Final Cut Pro also capitalized on the decline of Adobe Premiere in the Mac market. A strategic trade-in program in 2003 allowed Adobe Premiere users to switch to Final Cut Express for free or avail of a hefty discount on Final Cut Pro."]},{"l":"Pioneering Broadcast Quality","p":["A defining factor in the success of Final Cut Pro was the robust QuickTime platform, particularly its support for new DV cameras connected via FireWire. The software found its application in the production of the first fully broadcast quality, globally distributed TV show, Women of Wrestling in 2000. Networks, such as Oxygen, also adopted the software to produce shows like SheCommerce.","By 2003, Final Cut Pro was credited for facilitating the production of the controversial film \"PlayCouples, A New Era of Swinging\". The software demonstrated its reliability during the film rendering, and this positive experience led to more endorsements from industry professionals. Such endorsements boosted its acceptance as a professional editing tool and culminated in a Primetime Emmy Engineering Award for its influence on the television industry in 2002."]},{"l":"The Evolution of Final Cut Pro","p":["Final Cut Pro continued to evolve, with the 4th version in 2003, introducing new applications such as Compressor, LiveType, and Soundtrack for advanced editing needs. Over time, the software strengthened its support for various video formats and integrated with additional tools to provide a comprehensive editing solution.","By 2006, Apple stopped selling Final Cut Pro as a standalone product, making it available only as part of the Final Cut Studio bundle. It also introduced the universal binary version, enhancing the software's flexibility and performance.","Subsequent versions, Final Cut Pro 6 and 7, introduced in 2007 and 2009 respectively, brought more functionalities and integrations. Despite its growing capabilities, the software remained a 32-bit application until Final Cut Pro 7."]},{"i":"final-cut-pro-x-a-revolution-in-the-editing-world","l":"Final Cut Pro X: A Revolution in the Editing World","p":["In 2011, Apple launched a major new iteration of its popular video editing software - Final Cut Pro X. This version represented a significant departure from its predecessors, bringing both praise and criticism for its novel approach."]},{"l":"The Launch and Initial Response","p":["The launch of Final Cut Pro X(also known as FCPX or FCP 10) in June 2011, stirred up quite a controversy within the industry. The significant changes implemented by Apple shook many long-time users. Some of the main points of contention were the lack of backward compatibility with projects from previous versions and the initial absence of features like multi-cam editing and the ability to edit tape-based media.","Notably, there was also a transition in the distribution model, as Apple decided to make the software available only via download through the Mac App Store. This change proved challenging for mass enterprise deployment.","To gain an idea of the extent of the initial backlash, you can watch Conan O'Brien's satirical response on his talk show."]},{"l":"Behind the Scenes","p":["Phil Pan on Alex4D's Facebook Group, from the development team reveals that much of the advanced work from the core Shake team during this time was focused on the Helium renderer, a technology that is still central to Apple's Pro Apps today.","Interestingly, Phil indicated that management was more invested in projects such as Motion and Aperture that resonated with Steve Jobs and less in Shake. During this time, Apple acquired French mathematician Christophe Souchard's Senso technology, an advanced image scaling and frame-rate conversion tool using motion vector estimation.","At Apple, Souchard’s skills impressed management so much that his position was titled \"Applied Magic.\" He contributed to the development of next-generation prototypes, introducing methods using partial differential equations. However, due to Apple's policy against releasing compute-intensive software, much of this work never saw the light of day.","The shift in Apple's focus towards mass-market and mobile devices during the final years of Steve Jobs' leadership had a profound impact on the engineering efforts in high-end imaging worldwide."]},{"l":"Rising from the Ashes","p":["Despite the tumultuous start, Apple stood firm, continuously refining and improving FCPX. Through free updates, many of the missing features were reintroduced, and new ones were added.","A significant contribution was the Magnetic Timeline, which allowed for fluid, flexible editing, simplifying the process of exploring story ideas. Additionally, the introduction of Compound Clips further streamlined complex projects.","A major leap forward came with the new 64-bit architecture and GPU utilization. This allowed editors to work with larger frame sizes, higher frame rates, and more effects — all in real-time."]},{"l":"The Current State of Final Cut Pro X","p":["Today, Final Cut Pro X has matured into a powerful and efficient editing platform. With innovative features like the Magnetic Timeline, powerful multicam support, and advanced color grading, it has won over many skeptics.","Further solidifying its place within the industry is the introduction of ProRes RAW in FCPX, making it a go-to tool for many professionals. This format combines the flexibility of RAW video with the incredible performance"]},{"i":"final-cut-pro-for-ipad-expanding-horizons","l":"Final Cut Pro for iPad: Expanding Horizons","p":["In an exciting move, Apple announced in May 2023 the availability of Final Cut Pro for iPad, further expanding the reach and versatility of this beloved editing software. The launch date was 23rd May 23 2023.","This iPad version requires an M-series chip, a powerhouse in Apple's lineup of Apple Silicon. This move allows users to make full use of the advanced capabilities and power efficiency that the M-series chips offer.","In terms of cost, Final Cut Pro for iPad deviates from the usual one-time purchase model. Instead, it will be available solely through a subscription-based model. For just $4.99 per month or $49 per year, users can enjoy the full range of features that Final Cut Pro brings to the table.","The introduction of Final Cut Pro for iPad aligns with the growing trend of mobile editing. This move makes high-quality video editing more accessible than ever, allowing professionals and hobbyists alike to craft stunning videos no matter where they are.","For more details, check out the announcement on Ars Technica or the Apple Newsroom."]},{"l":"Randy Ubillos","p":["This in video Randy Ubillos explains the beginnings of Final Cut Pro."]},{"l":"Off The Tracks","p":["In 2011 Apple ended Final Cut Pro as we knew it and started over with a brand new video editing application: Final Cut Pro X. The disruption from this change is still being felt by the film, television, and video industries to this day. With misinformation running amok, Off The Tracks aims to clear the air once and for all. This documentary features exclusive interviews with the creative professionals who use the software and the developers who created it. Why did Apple make Final Cut Pro X?","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Training","p":["We're big fans of Ripple Training.","Apple has a lot of training resources here.","Want to contribute or add your training? Learn more here!"]},{"i":"an-awesome-guide-website","l":"An Awesome Guide (Website)","p":["Final Cut Pro Help is a collection of training, support, templates, and additional resources to assist you with Final Cut Pro.","Jared Ewing is an Apple Certified Final Cut Studio Master Pro and has been editing video for over 20 years. While growing up, trial and error was a common practice in learning to edit and shoot video. After attending Columbia College Chicago, Jared worked as a software trainer and hardware technician where he mastered the ability to explain complex topics in a straightforward and digestible way. Jared now uses his technical and creative skills to support you here at An Awesome Guide and the Final Cut Pro Help channels."]},{"i":"core-training-for-fcp-104-mac-app","l":"Core Training for FCP 10.4 (Mac App)","p":["39 lessons covering a wide spectrum of workflows","Browse, rate, and add keywords to clips","Chapter markers are included for jumping to specific topics","Color correct video","Core Training for Final Cut Pro 10.4 teaches you how to edit movies using Apple’s flagship professional video editing application.","Core Training for Final Cut Pro 10.4 will help you to:","Easily switch between the App and Final Cut Pro X to practice what you learn","Edit and enhance 360° Videos","Edit clips into a project","Enhance and improve the soundtrack","Focus on telling your story rather than figuring out software","Follow along as you creates a fun, engaging movie from scratch","Have fun learning","Import media from cameras and drives","Learn at your own pace","Learn concepts you can immediately apply to your own videos","Lessons are delivered in a relaxed style by a professional editor","Lessons are short - about 10 minutes each","Make better movies and have fun making them with Core Training for Final Cut Pro 10.4.","Navigate the interface","Reorder, replace, remove, and trim clips in project","Share your movies and much more!","Use Libraries and Events to organize your work","Use music and sound effects to create emotional impact","Watch them continuously or just a few at a time","With Core Training for Final Cut Pro 10.4, you'll learn how to:","Work with photographs, sound effects, and music"]},{"i":"final-cut-pro-efficient-editing-book","l":"Final Cut Pro Efficient Editing (Book)","p":["A comprehensive, best-practice guide from Apple Certified Trainer Iain Anderson. With illustrated step-by-step instructions, you’ll explore Final Cut Pro by following an editing workflow from shoot to delivery."]},{"l":"User Reviews","p":["This book rocks!","This is a incredibly written book. Intuitive, in-depth and a essential for the beginner and the experienced. This book is as detailed as FCP itself being only limited by the imagination, editors, storytellers or creatives. Surely a must have for me and hopefully you as well.","Jason Mark Williams","An amazing guide through FCPX, for both novices and experienced editors.","Forget your old stereo instructions. For a technical manual, this book is a very easy and enjoyable read.","What it is: a wide-ranging look at all things Final Cut Pro X. That means it’s written with sections for editing novices, which go over the absolute basics. And other sections aimed at experienced editors who either want to learn a new NLE (non-linear editor), or who know the basics of Final Cut and want to improve their workflow with efficiencies they haven’t discovered yet. The book even has a section on basic production tips for those who need the help. Personally, I am a highly experienced editor (who does not do production work) so I just skimmed that section, but even skimming it I picked up a few technical production details I wasn’t aware of before.","But the meat and bones focuses on using Final Cut Pro X. And it’s fantastic! Iain Anderson is a gifted teacher, able to explain concepts and fine points to novices and experienced editors alike with easy readability. The sections are so clearly delineated that it’s easy to jump to specific knowledge you are looking for, or you can just work your way through the book from start to finish.","Highly recommended for those wanting to dive into FCPX’s depths, or who want to dip their toes in the water for the first time.","M. Yanovich","Exactly as described. Excellent Book.","This thick book has everything you want to know about editing. Great value and fast delivery.","I would highly recommend this purchase. I’ll be busy reading over Christmas and right into Easter!","Thank You!","Eemies"]},{"i":"final-cut-pro-power-tips-book","l":"Final Cut Pro Power Tips (Book)","p":["Larry Jordan’s highly illustrated guide is packed with over 520 power tips, techniques, shortcuts and hidden gems designed to make you more productive right now."]},{"i":"final-cut-pro-pro-workflow-book","l":"Final Cut Pro: Pro Workflow (Book)","p":["Proven feature-film techniques from Michael Matzdorff, first assistant editor on the Warner Bros. film Focus starring Will Smith, which was edited entirely in Final Cut Pro."]},{"i":"getting-started-for-fcp-104-mac-app","l":"Getting Started for FCP 10.4 (Mac App)","p":["10 lessons that include everything you need to get started","Add music to your video","Add titles, transitions, and effects","Adjust volume and add audio fades","Assemble clips into your project timeline","Begin video editing with no previous experience","Easily switch between the App and Final Cut Pro X to practice what you learn","Fast and focused:","Follow along as you creates a fun, engaging movie from scratch","Get started making movies and have fun making them","Getting Started for Final Cut Pro 10.4 is a free 10-lesson video series that will guide you through the basics of using Final Cut Pro 10.4 using provided media, so you can quickly begin editing and delivering a short video project from start to finish.","Getting Started for Final Cut Pro 10.4 will help you to:","Have fun learning:","Import media and view your metadata","Learn concepts you can apply to your own videos","Lessons are delivered in a relaxed style by a professional editor","Lessons are short - about 4 minutes each","Navigate the interface","Professionally produced media is included","Save a custom workspace","Select, tag, and rate clips","Share your movies and much more!","Share your video with your friends","Skim and select media in the Browser","Use the trim tools to edit your clips","With Getting Started for Final Cut Pro 10.4, you'll learn how to:"]},{"i":"ijustine-teaches-fcp-x-mac-app","l":"iJustine Teaches FCP X (Mac App)","p":["16 lessons covering a wide spectrum of Justine’s editing workflows","Add b-roll and music to shape your story","Add titles, transitions and effects","Because doing is better than just watching, Justine has provided all the media from one of her YouTube videos so you can follow along with her in your own copy of Final Cut Pro X.","Become more efficient in order to save you time when editing","Chapter markers are included for jumping to specific topics","Color correct and improve the look of your clips","Edit with iJustine in Final Cut Pro X","Follow along as you learn her way of editing","Follow along with popular YouTuber iJustine, as she teaches you her complete end-to-end workflow for creating and delivering videos using Apple’s Final Cut Pro X editing software.","Have fun learning:","Improve and enhance your soundtrack","Justine’s tutorial is presented in 16 highly-focused lessons that cover each step in her editing process - importing and organizing media; multicam editing; adding b-roll and music; color correcting; adding titles and effects; exporting for YouTube and more!","Keyboard helper overlays help you remember important shortcuts","Learn at your own pace:","Learn concepts you can immediately apply to your own videos","Learn efficient methods for importing media","Learn Final Cut Pro in a systematic way","Learn Justine’s favorite keyboard shortcuts","Learn Justine’s preferred sharing methods for YouTube","Learn ultra-fast trimming and editing methods","Lessons are delivered by Justine Ezarik - a popular YouTuber with over 5 million subscribers","Lessons are short - about 5 -8 minutes each","Make better movies and have fun making them using iJustine Teaches Final Cut Pro X!","Organize your media with Keyword Collections","Perform a multicam edit using 2 camera sources","This app will help you to:","This tutorial was designed for new user of Final Cut Pro X or anyone who wants to see how a successful content creator uses Final Cut Pro effectively and efficiently.","Use FCP’s built-in intelligence for quickly locating clips","Want to contribute? Learn more here!","Watch them continuously or just a few at a time","Work with Connected Clips & Storylines"]},{"l":"Discuss this page"}],[{"l":"Workflow","p":["This page will be dedicated to professional Final Cut Pro Workflows."]},{"l":"Final Cut Pro Workflow for Feature Films","p":["Feature film editor Knut Hake has created an entire Notion page dedicated to Final Cut Pro Workflows for feature films."]},{"l":"Apple White Papers","p":["Apple ProRes RAW (April 2022)","Apple ProRes (April 2022)","Audio Roles in Final Cut Pro (November 2020)","HDR and Wide Color Gamut in Final Cut Pro (November 2020)","Manage Media with Final Cut Pro Libraries (November 2020)","RED Workflows with Final Cut Pro (November 2020)","Final Cut Pro X for Final Cut Pro 7 Editors (October 2019)","Transition to Compressor 4.1 (December 2013)","Final Cut Pro X for Final Cut Pro 7 Editors (September 2011)"]},{"i":"frameio-white-papers","l":"Frame.io White Papers","p":["Shared & Remote Solutions (2021)"]},{"l":"Shot Data","p":["Vigneswaran Rajkumar has developed a unique workflow with Chris Hocking for filmmakers. The workflow uses CommandPost’s Shot Data Toolbox to create a Shot List & Storyboard Database from Final Cut Pro to Notion."]},{"l":"Titles to Keywords","p":["CommandPost has as insanely powerful Toolbox called Titles to Keywords.","You can learn more here."]},{"l":"Best Practices","p":["Apple's Final Cut Pro is a professional-grade, non-linear video editing software widely used for editing feature films, music videos, documentaries, and other forms of digital media. In this post, we will explore the best practices for using Final Cut Pro for long-form feature film editing. This will ensure your workflow is optimized, your output is professional, and your editing process is efficient."]},{"l":"Organise Your Workflow","p":["Create a Sound Workflow Structure:","Before starting the editing process, it's crucial to establish a well-structured workflow. In the context of long-form feature films, this often involves breaking down your project into scenes or sequences, each with its own dedicated project file within Final Cut Pro. This allows for focused editing and simplifies collaboration, as different editors can work on different scenes simultaneously.","Consistent Naming Conventions:","Consistency is key to smooth editing, especially for large projects like feature films. Use consistent naming conventions for your clips, sequences, and projects. This will make it much easier to locate and identify specific assets as your project grows.","Leverage Metadata:","Final Cut Pro allows users to input and leverage metadata for clips, such as scene number, shot number, take number, and more. You can also add custom metadata. Using metadata effectively can greatly enhance organization and searchability within your project."]},{"l":"Understanding RAM Requirements","p":["One crucial aspect of achieving optimal performance with Final Cut Pro revolves around understanding and addressing the software's RAM requirements. In particular, running FCP on Apple silicon (Apple's own line of processors) requires careful consideration. As all new Macs now use Apple silicon, it's important to get this right.","Apple Silicon and Unified Memory:","Unlike traditional computer architecture, where the CPU and GPU have separate memory (RAM and VRAM), Apple Silicon uses a unified memory architecture. This means that the CPU and GPU share the same pool of memory. As a result, your RAM has to serve the needs of both processing and graphics tasks.","For long-form feature film editing in Final Cut Pro, this has several implications:","Greater RAM demands: Feature films require handling high-resolution footage, multiple video tracks, complex effects, and color grading, among others. These tasks can put significant strain on your RAM.","Multitasking needs: If you are using other demanding apps alongside Final Cut Pro, such as other creative apps, your RAM needs will be even higher.","Importance of choosing the right Mac model: When buying an Apple Silicon Mac, you can't upgrade the RAM later, unlike with some previous Intel-based Mac models. So, it's important to consider your RAM needs upfront.","How Much RAM Do You Need?","As a baseline, Apple recommends a minimum of 8GB RAM for Final Cut Pro:","4GB of RAM (8GB recommended for 4K editing, 3D titles and 360° video editing)","However, for long-form feature film editing, you'll likely need more.","16GB RAM: This should be considered the minimum for professional work, such as editing feature films. It will allow for smooth editing of 4K footage and some flexibility for multitasking.","32GB RAM or higher: If you're working with 6K, 8K, or multiple streams of 4K video, or if you use lots of effects, consider 32GB or even 64GB of RAM. These larger RAM options will also provide greater flexibility for heavy multitasking and future-proof your setup as software demands increase over time.","At LateNite we're primarily using MacBook Pro's (2021 16-inch, Apple M1 Max, 64GB RAM, 3TB SSD), and they're rock solid.","While the unified memory architecture in Apple Silicon offers advantages such as increased efficiency and speed, it also places greater demands on your system's RAM. Therefore, when planning to use Final Cut Pro for long-form feature film editing on an Apple Silicon Mac, consider opting for at least 16GB of RAM, or even 32GB or 64GB for more complex projects and improved future-proofing. Remember, it's better to have a bit more RAM than you need, rather than not having enough when you need it most."]},{"l":"Understanding Drive Requirements","p":["An often underappreciated factor that can significantly impact your video editing workflow is the type of storage you use. When it comes to editing in Final Cut Pro, especially long-form feature film editing, opting for a Solid State Drive (SSD) over a traditional Hard Disk Drive (HDD) can make a significant difference.","Choosing the Right Storage for Final Cut Pro: SSDs Over Spinning Disks:","External SSDs: High-capacity external SSDs have become increasingly affordable. They can be an excellent solution for expanding your storage space without having to replace your internal drive.","Faster Read/Write Speeds: SSDs offer dramatically faster data transfer rates compared to HDDs. This means that video files can be read, copied, and written much quicker, which is critical when dealing with large, high-resolution video files typical in feature film editing.","Greater Reliability: Because they have no moving parts, SSDs are less likely to suffer mechanical failures, making them more reliable than HDDs. This is critical when working on important projects like feature films, where data loss can be disastrous.","HDDs, or hard disk drives, are traditional storage devices that use mechanical, moving parts to read and write data. They are made up of spinning disks, hence the name \"spinning disks.\" HDDs are typically slower and less reliable (due to potential mechanical failure), but they usually offer more storage space for a lower price.","Improved Multitasking: SSDs are better at handling multiple tasks simultaneously, such as playing back multiple video streams, which is common in multicam editing or when working with complex timelines.","In 2023, you should definitely be removing slow spinning disks from your editing workflow entirely. (You might still choose to use them for backup.)","Manage Storage Space: SSDs typically have less space than HDDs. Be diligent about deleting rendered files, proxies, and other temporary files that Final Cut Pro generates during editing to free up space.","On the other hand, SSDs, or solid-state drives, are storage devices that use flash memory (similar to your smartphone or USB thumb drive) to store data. Because there are no moving parts, SSDs are significantly faster and more reliable than HDDs. However, they are also typically more expensive per gigabyte.","Practical Tips for Using SSDs with Final Cut Pro:","Quicker Rendering and Exporting: The faster speeds of SSDs also translate to quicker rendering and exporting times in Final Cut Pro. This is particularly important in a professional setting, where time is often of the essence.","The Advantages of SSDs for Final Cut Pro","Understanding HDDs vs SSDs:","While HDDs may be more cost-effective in terms of raw storage space, the speed, and reliability benefits offered by SSDs make them a superior choice for use with Final Cut Pro, especially for demanding tasks like long-form feature film editing.","While SSDs are clearly advantageous for video editing, it's important to use them strategically to balance performance and cost:","Working Drive: If you can't afford a large SSD, consider at least getting a smaller one to use as a 'working drive'. You can store your current project on the SSD for fast performance, then move finished projects to an HDD for long-term storage."]},{"l":"Storage Locations","p":["To keep library sizes as small as possible (which makes backing them up and sharing them easier), we always recommend keeping your media and cache external to the library.","Storing your media inside the library is an option for solo editors who do not work collaboratively, but external media offers more power and flexibility."]},{"l":"Library Organisation","p":["Each event in Final Cut Pro is its own Core Data database.","You can learn more about the library structure here.","Given this, we recommend splitting up your media into multiple events, rather than putting all your media in a single event powered by a single database.","We recommend using emojis in event names, to differentiate the list of events more clearly.","For example, this is from a 5 x 30min broadcast television special:","You can learn more about this workflow here.","Here's an example of a library for a job where all the user interface designs were build in Final Cut Pro for a game:","Here's an example of a library for a basic corporate edit:","If you're working on a very heavy feature film, your current feature length timeline should be in its own event."]},{"l":"Avoid Snapshots","p":["Snapshots are the devil. You're much better off using something like PostLab.","When you duplicate a project as a snapshot, Final Cut Pro embeds copies of compound or multicam “parent” clips in the duplicate, so any changes to other instances of those clips do not affect the duplicate.","Generally speaking, when you're working with a long-form project, all of your media is generally a Multicam Clip (because you're syncing with external audio) — so each time you create a Snapshot you're essentially creating a duplicate of all the clips metadata.","When you create a Snapshot, Final Cut Pro generates copies of your used clips and any connected clips, including titles, effects, compound clips, and multicam clips. All of these elements contribute to the overall size of the Snapshot.","While Snapshots can be a valuable tool for preserving your project's state at a specific point in time, excessive use can have a significant impact on your library size and performance. This can in turn affect Final Cut Pro's performance.","An overly large Final Cut Pro library can lead to several issues:","Reduced System Performance: A bloated library can slow down Final Cut Pro's performance, making it less responsive and lengthening render and export times.","Limited Storage Space: If your library size becomes excessively large, it can occupy a substantial portion of your available storage space. This can be particularly problematic if you're working with limited storage capacities, such as on a laptop with a small SSD.","Back-up Challenges: Large libraries can also be more challenging to back up, as they require more storage space and more time to copy to your backup drive."]},{"l":"Edit with Proxy Media","p":["Long-form editing, particularly at high resolutions (4K, 8K), can be quite demanding on system resources. To ensure a smooth editing experience, Final Cut Pro offers a 'proxy workflow'. This allows you to create lower-resolution versions (proxies) of your footage for editing. Once the editing is complete, you can easily switch back to the original high-resolution files for final output."]},{"l":"Use the Magnetic Timeline","p":["The Magnetic Timeline is one of the unique features of Final Cut Pro. It offers a trackless approach to editing, allowing clips to automatically slide into place and avoid clip collisions and sync problems. This is particularly useful in feature film editing, where you may be juggling hundreds or even thousands of clips."]},{"l":"Master Your Tools and Shortcuts","p":["Final Cut Pro offers a wide range of tools for tasks such as trimming, re-timing, and applying effects. Mastering these tools, along with the keyboard shortcuts for commonly used functions, can significantly speed up your editing process."]},{"i":"leverage-final-cut-pros-multicam-editing","l":"Leverage Final Cut Pro's Multicam Editing","p":["If your film includes footage from multiple cameras, Final Cut Pro's Multicam editing feature can be a major time-saver. It allows you to sync up to 64 angles of video footage using audio waveforms, timecode, or markers. Once synced, you can cut between angles in real time while watching the multicam viewer."]},{"i":"use-compound-clips-and-roles-for-organisation--efficiency","l":"Use Compound Clips and Roles for Organisation & Efficiency","p":["Compound Clips allow you to bundle separate clips together into a single clip, which can then be edited as one. This is useful for managing complex sequences or visual effects compositions.","Roles in Final Cut Pro allow you to label and organize different types of audio such as dialogue, effects, and music. When exporting, you can output multiple versions of your mix (such as stereo and surround) or a file with separated roles for further mixing or mastering."]},{"l":"Keep Regular Backups","p":["Given the scale and importance of feature film projects, it's essential to keep regular backups of your work. Final Cut Pro's built-in backup tool makes this process easy and automatic. Backups can be accessed from the File > Open Library > From Backup command, but they can also be found in the Finder, in Home > Movies > Final Cut Backups > LIBRARYNAME."]},{"l":"Conclusion","p":["Final Cut Pro is a powerful tool for long-form feature film editing, but like any tool, its effectiveness depends on how it's used. By adopting these best practices, you can ensure that your editing process is efficient, your workflow is smooth, and the end result is a feature film of professional quality. Remember, the key to successful film editing is a combination of technical skill, organization, creativity, and storytelling.","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"SCHOCK","p":["The Violent Footage Tornado (alternate title: “Final Cut is simply years ahead!”)","An Interview with the director and the editor of SCHOCK (Germany, 2023)","This Zoom interview was transcribed with Transcriber, and translated from German via DeepL.","It covers not only the technical workflow of the film regarding the Final Cut eco-system, but also touches on its unusual creative decisions, how filmmaking as a collective joint questions hierarchical structures, and if the director as VFX-artist could be a good idea.","Still frame of the video-interview. from left: Florian, David and Daniel"]},{"l":"Biographies","p":["Daniel Rakete Siegel grew up in Cologne, Germany. Started his directing career after studying at ifs and KHM with the series \"Im Knast\", where he also met Denis Moschitto (co-director and leading actor of SCHOCK). You can follow him on Instagram and Twitter.","David Wieching started film editing via an apprenticeship as media designer and was head editor at btf for 5 years, responsible among others for \"Neo Magazin\", later \"ZDF Magazin Royal\" (famous German late-night show). You can follow him on Twitter.","Daniel and David know each other from joint projects in the early days of their working careers and even have been roommates for 5 years. Their debut feature SCHOCK just screened at the Munich Film Festival 2023."]},{"l":"Synopsis","p":["Bruno has lost his license to practice medicine and is now practicing illegally, no questions asked. His ambition is triggered when a lawyer makes him an offer to treat a leukemia-stricken mafioso. But this not only puts him between the fronts of rivaling groups, but pushes him further away from his old life. A dangerous game between two worlds begins.","The narration is characterized by sparse dialogues and a varied visual language. SCHOCK succeeds in simultaneously affirming the \"gangster film\" and reinterpreting it through bitter realism, avoiding typical traps of the genre, like coolness or quirky comic relief.","Denis Moschitto as Bruno","Fahri Yardim as Giuli","Bruno is trapped"]},{"l":"Introduction","p":["FLORIAN: Nice to meet you, Daniel.","DANIEL: Hi.","FLORIAN: I was lucky to attend the premiere of SCHOCK. Great movie!","DANIEL: Yeah, cool. That was really cool. We always say that we worked on it for eight years. That's true. But of course it wasn't eight years full throttle. It was from the first idea to the final thing. And the last three or four years were really intense. That's such a long time. It was much more intense than we would have thought. And I actually did the grading until the last second.","FLORIAN: Hey David.","DAVID: Hi Flo.","FLORIAN: I'm glad to have you guys on here. FCP Cafe is still very young and I thought it would be nice to try out an interview.","DANIEL: Final Cut is important for both of us. To bring the thing forward is of course super cool. Especially in the professional realm there aren't that many resources online, honestly.","BTS of Schock","from left: Composer Hainbach, Editor David Wieching, Director Denis Moschitto, Director Daniel Siegel"]},{"l":"Collaborative Cinema","p":["Do it yourself and do it together","FLORIAN: Before I get to the technical stuff, I thought we'd talk a bit about SCHOCK. As David told me, the whole thing emerged from a circle of friends. And at the same time it's the cinema debut for many of the team. How did the beginnings of the script come about?","DANIEL: Well, I've known David much longer than Denis (Denis Moschitto, co-director and main cast). We shot the series \"Im Knast\" in 2015/16 and became close friends after the first season. I was ready to make my film debut. Denis wanted to work as a full-blown filmmaker and not \"only\" as an actor. And we figured we want to do this with David, not only as the guy who cuts everything together in the end. So we formed a gang of three - also as proof of concept of how we want to work. It wasn't like, \"Oh, we want to tell this practitioner's story.\" It was more about: how do we actually want to shoot (and produce a film) at all? We took a much more radical approach. The film had an internal working title. We called it: \"Let's fuck shit up!\". So, this freedom was really important to us from the get-go, not for reasons of protectionism, but to not be held back by some kind of structural corset. For example, we didn’t want to work closely with a post-house, rather we wanted to be in control of it ourselves; we wanted to do the exports without calling a technician or anxiously send out VFX lists only to have someone tell us it’s too expensive. We wanted to do it on our terms and with our particular skill-set. And that was at least as important as the story: to figure out our own process, like a personal framework for filmmaking. Is it possible to do it that way? And if so, then we'll cultivate that in the future.","FLORIAN: So you imagined an even more intense collaborative process as filmmaking already is? And you started with the key-positions of editing, acting and directing?","DANIEL: Yes, you could say that. You also have to say that Denis didn't want to play the lead role at first. He wanted to do the part behind the camera. But that ultimately changed during Covid19, I have to be honest.","DAVID: The pandemic changed the script as well.","DANIEL: Yeah, exactly, that opened a door.","DAVID: It inspired parts of the story that weren't there before. Probably the strongest storylines now.","FLORIAN: So I understand it like this: everyone brings their particular skills from a different direction and then you mingle together. And Denis brought his skills from the acting-side?","“ Some even say the Film Editor is like a second director. Denis recently called it shadow-directing. ”","DANIEL: Yes, basically that's right. And if I may say one more thing, which is really close to my heart; a really underestimated part of your (David and Florian’s) work is: Editing isn’t only connecting lines and securing continuity! If you do a somewhat decent job, you finish writing the script in the edit! And I think it's totally important not just to award credits, but, prospectively, understand it as the collective effort it already is. Some even say the Film Editor is like a second director. Denis recently called it shadow-directing. It's sometimes very difficult to distinguish: what is script, what is acting, what is camera, what is staging? And with editing, somehow nobody sees it unless it sucks. Or you win an Oscar, like in this Queen film, because you clearly saw how strong the interventions are there. Unfortunately, there's no real obvious traction for this, neither inside nor outside our line of work, that articulates how much these processes are interdependent and extremely interdisciplinary. And I also think that a lot of the work of directing on set is about opening up spaces for people to do their work well. That's always been a saying that we've had: you don't tell actors how to play it well, but you find people, through casting and all other processes, who work it out with you. And for us, Editing is simply part of that from the very beginning. That's the way it is for me from now on. With every larger project, it's simply an absolute must-have that the editing is there as early as it can be. That you simply talk about everything. So David was even present during prep for blocking the scenes. That all paid off. That's not the most efficient way of working as far as human life is concerned. Nevertheless, for me it’s the nucleus of an ideal shooting situation. To manage this in 30 shooting days, which have come to destroy you. (smiles) To pull that off, that’s killer!","FLORIAN: David, did you actually co-write or just read the script and comment on it?","DAVID: The latter. I’ve never had the script open in Final Draft in this case, but I had read everything since the first treatment draft and we talked about it afterwards. What works well, where do I have ideas for development? It was such a gritty learning process. I would also say that my initial comments were more like, \"yeah, it's all totally awesome, looks awesome, great, exactly.\" The closer the shoot, the more complex the exchange became. And I think that in follow-up projects we’re already noticing how this collaboration has changed and intensified.","FLORIAN: So, you're actually benefiting from this intense work during writing and pre-production. Are you actually getting faster? More precise?","DAVID: Several things. We knew the story and the characters so well that there were few questions left. We developed a lot, of course we'll get to that in a minute when we talk about principal shooting. But I think it's more that through this experience the degree to which I get involved in new projects is now much more intense. By how we've learned to communicate with each other about film, what we like, what works well, what direction we want to go. And also that we can imagine writing a script together. I mean, I would still have to prove that I can do that. But in the process of this film, we came so far that I don't think it would be an absurdity for all of us if that happens."]},{"l":"Workflow","p":["“ My motivation to work like this also came from my buddy Frido, who always used to select in Final Cut with the Playstation controller. He used to sit on the couch, in front of his client monitor, he does a lot of advertising and has a really fat client monitor, so he used to sit on the client couch and did selects with the controller. ”","DANIEL: And Reject, maybe, too.","DANIEL: Yeah, exactly, so since that (FCPX 2012) came out, I've cut everything I could with it. Obviously I haven't edited a feature film, but I've gained a lot of experience in terms of workflow stuff. And I've done a lot with it. And I loved it very quickly. The first version was really bad... but after they changed the library structure, it worked. Also, for David and me, a very important point was that we both had no desire to work on Avid and also had our experiences with Premiere. With Final Cut, you can just dig in and just work sensibly - cut \"from the gut\". And that's what I personally really wanted to do, because I know: You wipe over the footage, make a range, throw everything you find interesting in the timeline - snip, snap, snip - drag scenes to the left, to the right, to the left, to the right and then you're done....","DANIEL: You did, once.","DAVID: And Forward, Backward.","DAVID: And marked In/Out, favorite with the Playstation controller.","DAVID: And Reject still, yeah. And so then I watched and selected. Started editing in parallel as well, but it's a much more fluid and cohesive process.","DAVID: As I said, we wanted to do as much as possible ourselves. But of course, in order to have a certain security, just for insurance and stuff like that, there was still a post-production house involved. And that was WeFadeToGrey. The proxies were created there, then the proxies went to Victor (Rosario, Assistant Editor), and he synced everything. Then I took a walk to Victor's place, because it was very close, and picked up the footage on a hard drive, super oldschool, and if he was already done, also the Final Cut Library, or he sent it to me later.","DAVID: Exactly, yeah.","DAVID: I also created keywords for a few dialogs. But I discarded that relatively quickly, because there's just not that much talking in our film. (Laughter)","DAVID: Nah, actually it always stayed that way. And I didn't split the timeline into reels either, I just started and kind of kept going and when Final Cut slowed down I just reduced the library (deleted older timelines) and then everything rolled again smoothly. That way I didn't have the need to structure it differently. Admittedly, our workflow was really very low-tech in that respect. And, what we haven't said yet is that I hadn't worked on Final Cut once before.","DAVID: No, I had one event per shooting day and then sorted the scenes by keywords.","DAVID: Totally. Although our workflow and also the structure of the library was not ideal. But the pure editing, that went super fast, well off the cuff. Basically, I've never understood it if you only want to work with one technique or one software. Because first of all you’d limit yourself. And I think they all have their advantages and disadvantages. Final Cut is simply years ahead! But still, both Avid and Premiere have their justification. At btf, we worked on Premiere for all those years and it was perfect for one-shots that had a lot of graphics and VFX shots. It would have been unthinkable to work on Avid. And that was kind of the approach to learn the \"new hot shit\" as well. Of course, that started with the viewing and selecting, how much fun that is! Because otherwise, in Premiere or in Avid, with every new project, I'm actually always faced with such a conundrum first, that I have to decide how I want to watch and select now.","DAVID: Unlike with Avid or Premiere, I don't have to decide: do I just watch everything first? Do I do markers or a select sequence or do I start cutting directly and slowly work my way through the footage? When I'm working on Avid or Premiere, I usually do it in such a way that I start cutting right away and then go from the footage further into the structure, into the deep. With the way you can mark favorites in Final Cut, I've gone back to doing selects classically without feeling like it's costing me too much time, energy, and motivation. I feel like selecting with other NLEs, maybe that's fun, too. But when you're done you haven't done anything yet. (Laughter) You don't have that feeling with Final Cut. So: I marked my favorites, and then in the next step, in the View I already hid everything (note: show only Favorites in Browser) and with that I had my select reel in the Browser as a starting point. My motivation to work like this also came from my buddy Frido, who always used to select in Final Cut with the Playstation controller. He used to sit on the couch, in front of his client monitor, he does a lot of advertising and has a really fat client monitor, so he used to sit on the client couch and did selects with the controller.","DAVID: Well, I once assisted a friend (Frido Körner) on a commercial, with the approach \"I want to learn a little Final Cut\". I did rough cuts there, too, and mainly got the assistant stuff down, to understand how Final Cut works in the structure. Then I looked at your (Florian, German editor’s association internal) introduction again, in preparation for the film and then just jumped in at the deep end and started. Because Daniel knows Final Cut so well, I had no worries for the time after the shooting. And during shooting I could always call Frido if I had any questions...","DAVID: Well, once, I did once....","DAVID: Yes, from Stella Fachinger. I was also on the set for the first two days of shooting, and then we talked on the phone, and in the classic way there were Lockit files digital ScriptSuper-notes that Victor transferred into FCP).","Editing a feature film with Final Cut Pro","Event structure of the editing project","FLORIAN: And have there been notes from the ScriptSupervisor?","FLORIAN: And then there was one event per scene? Or did you do it via keywords?","FLORIAN: And with this Favorites-concept you went through the whole film? So it's not like you did extra keywords again? That would be my method: the favorites all get one keyword, then the favorites get suspended and I select favorites of that keyword (fine selection).","FLORIAN: He put the shortcuts on the controller?","FLORIAN: Okay, do you mind telling us briefly what the technical workflow was like, from the set to the editing room. And after that, we would look a little bit at how you actually worked dramaturgically on set. How were the proxies delivered to you and how were they created?","FLORIAN: Okay, let's start there. You get the first shooting day in for SCHOCK, and then: how do you select?","FLORIAN: Okay. And David, did it feel for you like that right away? All this throwing in and freestyle mixing clips, as Daniel describes the whole thing?","FLORIAN: Okay. Then you split it into reels yourself at some point, or scene-Events?","FLORIAN: Play, Pause, In/Out, Favorite, that's all you need.","FLORIAN: So it’s been ProRes proxies?","FLORIAN: Wait a minute, Daniel, but you've done a lot before, smaller projects?","FLORIAN: Wait, this is where it gets interesting.","FLORIAN: What do you mean not once?","FLORIAN: Yeah, exactly. We haven't even mentioned that yet. I'll add that later in the short summary.","FLORIAN: Yes."]},{"l":"Watching Dailies","p":["Shooting day briefing “New School”","FLORIAN: And then let's say now, you're done with the shooting day and then came the special thing, which maybe was still common in the past, that you did something similar to watching dailies with the head-of’s. Now that went a bit differently with you guys. That's of course totally interesting, how this process was at the end of the shooting day between the two of you. Or three of you, together with Denis?","DAVID: Exactly, and sometimes even four, with DoP Paul Pieck together. We already met with the motivation, relatively classical, to watch dailies. Then, when you're sitting in a café where it's a little bit louder, that's not such a good idea anymore. And relatively quickly we moved on to not discussing the previous day's dailies, but rather doing a kind of style critique. On the one hand, how the camera works and how we want to narrate cinematically with the camera, and on the other hand about the character development.","DANIEL: We did make some drastic decisions, it has to be said. For example, we changed the character who gets shot at the end in the showdown. That was originally a different person. And that evolved exactly from those conversations. David was telling Paul all the time, \"Dude, fuck the axis, go in, shoot sloppy, it doesn't matter, let go!\" And that totally triggered a lot. You really can't underestimate that. It was incredibly important. Yesterday, in a moment of madness, I looked at the version we shot - not one stone was left unturned, except for very important details. The film changed incredibly during principal filming. And that was totally cool, I would say. To always discuss with each other and to hold each other up. It was a constant comparison: here we are on the right track, there we have to put in more, there we give less. It's also a film that intentionally leaves out information in a lot of places, in a way that hopefully doesn't bother you. Without those conversations, we never would have been able to do it that way.","DAVID: Frustration management, too. The shoot was tough as nails. There were really few shooting days for what we had planned. And of course the guys were used up quickly. And I gave a lot of motivational speeches. Not because it didn't work. It was often about saying: we're on a good path!","DANIEL: Yes. With David, at the end of the day, it was another view from the outside. While I was already essentially the first viewer via the small monitor on set, David was the next first viewer.","FLORIAN: Yeah, logical. I can also feed back to you that, my impression after the premiere. Because I knew that David was there, I also tried to notice the editing and the mise-en-scene. In other words, I tried to watch actively, what I usually avoid at the first screening. And it's striking: the film is extremely varied! Longer camera movements, pans, montage-sequences, but also more classic blocking and also somewhat fancy camera angles. And still, the thing seems to be made of one piece. It just doesn't fall apart, but it makes the whole thing lively and exciting. And maybe that's also due to this process.","DANIEL: For sure.","DAVID: We didn't just talk about the footage, but also about the next day and what’s planned. And that's where we sometimes developed together, we said \"come on, this scene: one shot!\", or \"come on: two safety, but no shot-reverse-shot!\", just brave: something interlaced, or maybe a bit architectural... And these are then ultimately also the scenes where the shots could last very long (without a cut)."]},{"l":"Redefining the Genre","p":["Without negating the legacy","FLORIAN: The film manages to stay tough and serious. How hard was it for you not to drift into satire or coolness? And that maybe ties into what you guys were just talking about.","DANIEL: So it's a mixture of very easy and very, very, very difficult. When we decided to make a movie at that time, the idea came up, \"what about a gangster movie?\". And then we actually said, \"no, this coolness, somehow we're not up for it at all\". And that was, I think, a narrative demand that had been seething with us for so long that we couldn't get past it. We wanted to play with it. For example, Fahri (Yardim, supporting cast) is wearing a cool leather jacket and is looking grim, but in such a way that it doesn't tip over into a comic reality. That was actually a very simple decision. A film that nevertheless serves the genre, with a showdown, with a certain form of depiction of violence. That it has to be a bit borderline. Not a film that has to please everyone. It was ultimately about going a little bit to the extreme. For example: How little can you talk without thinking it’s a student film where the task was: you're not allowed to talk. So, getting the coolness out of it wasn't that hard. But a film that builds a coherent atmosphere and world within these 114 minutes, without classically learned mechanics, without a love interest, with a main character for whom you can't clearly say why he's actually acting like this. That was very, very difficult. And it took a lot of time.","“ How little can you talk without thinking it’s a student film where the task was: you're not allowed to talk. ”","FLORIAN: Cool gangster movies - there would be a lot of references. So there are pitfalls when you're staging it the opposite way and dealing with actors who are used to it differently. There's a lot for you to do on set, isn't there? Always holding them back a little bit or nudging it in a different direction.","DANIEL: Yeah, ..., we still have a few ADR parts in it that are a thorn in our side. That's why I watched the raw footage of a scene again. And I was totally surprised. It's the scene where Bruno is at Giuli's house for the first time and treats this wound. The scene is just forever long. The footage is forever. And Denis is acting with this medicine bag that was completely filled, like, 300 times in the movie. Incredibly hard to act shit. It's an awkward prop. Incredible number of times he has to open it, close it.","DAVID: Gloves always on, mask too.","DANIEL: The handling, the continuity - that wasn't the difficulty. It was the ability to remain calm. Not to go for efficiency in storytelling. Not to tell it like: now he's sitting with his sister, then he has to say \"sis\" three more times so that people understand.","DAVID: For the scene, we had a relatively steep idea for the character constellation in the days before (during the dailies-discussions). There's not much of that left in the result, but it led to quite a lot of nuances.","DANIEL: There used to be a different ending, it has to be said.","FLORIAN: They're hugging, aren't they?","DAVID: Exactly.","DANIEL: Actually, something else happened after the hug.","DAVID: Right. And also in between, some other stuff happened where the relationship between brother and sister gets a different conflict that we ended up leaving out, but it totally helped the buildup of the scene. Because a conflict arose between the three of them. That was then left out. But it still remained as a basic conflict in the constellation of the characters. And this development was totally exciting for us. A bit like a director's trick, but without being shitty to people, so that they reach their limits. Like throwing in an idea to push everyone to the brink. Coming back to the genre arc, what was really important for the shoot as well: to actually show a lot of things and to be explicit. Not to cut away in moments where it's about violence, or even the consequences of violence, or everything that's medical in the film. We wanted to be in these moments and absolutely show it. For example the treatment of the gunshot wound. How he pulls the thing off and you see the \"pizza\" (inflammation around the wound) and the hole. We have been so lucky with our make-up artists, Daniel Schröder and Annette Schirmer. It had to look good. He takes off the patch and you think \"oh shit, this fucking hole in the back\". Starting from there to the thumb at the end (of the film), we wanted to show everything. Not to cut away in those moments and only tell it with sound because it's easier. Sound also works, because it hurts associatively. But we wanted to show it all, as statements of intent to the genre.","DANIEL: Immanence, that was a total buzzword for us when we were shooting. We tried to hold it up everywhere we could. For the genre. To somehow get pressure into it. Meaning: real shots, real locations, no car rides in LED hell. And above all, to let actors play and not only shoot for the edit."]},{"i":"creative-struggles--frustration-management","l":"Creative Struggles & Frustration Management","p":["_“ Final Cut invites you to go on forever: fade here, something there, jab jab, while it is running (!), ... ”","DANIEL: Exactly, the letting go, even of frustrations from the set. We had that with two or three other scenes that took a little bit in the edit to get done. At some point, one of us said, \"Nah, come on, let's do it. We'll take out the montage-sequence and we'll go through it properly, again.\" I mean, you know for yourself when you're sitting in the edit and suddenly the knot unravels. And you know you’ll just need three frames here, a different setting there, and maybe a little bit of a different mindset ... We also had a small, very early test screening with Rainer Nigrelli and Flo Böttger. Watching it with different eyes has also totally changed a lot for us. And for David it was just stress, because there are two guys sitting behind him and say, \"Get in early.\" - \"No, out earlier.\" - \"Boom, there's music.\" - \"Nah, without music.\". That was really super untechnical. That's why, I think, we haven’t had real conflict, except for general frustration management. But there was a long phase, also during editing, where we had no idea whether the film would work. I think we were really afraid that we would cut it and then it would just completely suck.","DANIEL: I got two, three things. David?","DANIEL: I think 30 days in total. I remembered 18 weeks of editing.","DANIEL: That was surprising. That was really surprising.","DANIEL: Totally. It's totally crucial. I've also suffered a lot in Premiere and Avid. More in Premiere, even less in Avid. I really think: getting access to the footage, so you just have a visual reference of what you're working on, that's easy in Final Cut - I can’t understand why you wouldn't want that in editing. I really don’t fathom.","DANIEL: Vape, vape, vape ... I picked up the mouse every once in a while. I really like seeing the timeline to get a feel for what's happening. And what I find so nice about Final Cut is that you can just let it run, trim another clip while it's running, turn the music down a bit, you can just march through. Even Denis felt the vibe that you can just march and “massage” the footage as you like. We actually took moments now and then to get away from the computer and watch it on a TV-Set. Because Final Cut invites you to go on forever: fade here, something there, jab jab, while it is running (!), and so constantly the attention is gone. But I don't think I'm a better editor than David, on the contrary. I'm just a bit more into technical shit, whereas David is more into \"I'll edit the scene nice and tidy\". If there's a new Voice Isolation thing in there, I immediately want to know how it works. Where the limits of it are and where they aren't. David just doesn't give a shit. So I was doing more of an editing assist, if you will.","DANIEL: We thought that was going to happen, but it didn't.","DANIEL: Yes, it could be that I did that once. It wasn’t the usual \"there's a director sitting around\". We always sat behind David, jerking around like dudes, which had to be annoying sometimes, right?","DAVID: 18 weeks of editing, but that was including principal shooting. We were together the whole time. And just fought our way through. It was an incredibly intense process. But at the same time, you have to say, we had no single night shift. Not on any day.","DAVID: 18 weeks was all right. We always said to ourselves, if it takes longer: screw it. We had an extremely low budget and we made super little money on the film. But because it was all of our big screen debut, we didn't give a shit.","DAVID: Exactly, and there again, this whole process is totally awesome that we wrestled for this scene so much and it changed for the better.","DAVID: Exactly, we thought it was going to happen. Sometimes I like that, too, as a certain protection mechanism. If I don't happen to know the director or producer that well yet, then maybe I’d like to have time alone to try something out and not have someone sitting behind me. With Daniel and Denis, there were no such insecurities or fears, for sure. But of course, when you're three guys... How many weeks did you shoot, Daniel?","DAVID: For example, we cut out the death of the character Naimee, the prostitute, very early. And built it so that that strand basically ends loosely for Bruno. After she’s got the sepsis and then an allergic reaction, it just got better again and he doesn't hear anything of her anymore. Particularly Denis and I favored that for a very long time. In the end, it's always a bit theoretical. You kind of have an idea to tell it differently and think: that's okay, it didn’t have as much impact as we thought it might anyways. Naturally, that's the easy way to get rid of it. And that's where Daniel really pissed us off, in a positive sense. He \"beat us up\" to not leave it like that and to give up. And I also think my ethos developed a lot during that time. As an editor, you probably don't want to admit that, but of course sometimes the path of least resistance is a grateful one.","DAVID: Nah, I don't think so. I think during that time there was an update with Dupe Detection. That was great. Because that was totally missing. Then all of a sudden it was there. And it was like \"Thank you!\".","DAVID: Right, and I'm not very interested in that.","DAVID: That was very surprising. Because Daniel and I are geared to spend the whole night. Maybe we were there until 10 p.m., but then the last two hours were mostly talking.","DAVID: Vaping noises, behind me all day.","DAVID: We had a rough cut of, I think, 2:45 hours. The first days were a bit wild … aftermath of the wrapping party. And then we really just sat together every day. So I don't remember any situation where we discussed something, now they're going to leave, we'll talk more tomorrow and I’ll execute.","DAVID: Yes, and I think with me it derives from \"learned stress\" from other projects. I had to unlearn that, in a way. We're editing together again at the moment. Daniel can say \"yes, let's have another look\", as often as he likes - I'm rarely annoyed. Except maybe when I'm tired, the dog is barking and I'm hungry and I think to myself, \"now leave me alone!\" The three of us have had a lot of things to deal with, I guess. Even Denis, who has never sat in the edit so intensely. I mean, with three people, if there's a disagreement, then it's two against one. There's no other way. And of course you’ll get annoyed sometimes. But in the end we all mastered these challenges, even if it took a little while. Denis is also happy now that Naimee's death is still in there. And I also like the way we approached the scene in the edit and with elliptical storytelling. How Bruno sits there and is desperate about what happened. That's how it became a strong scene. Not an action sequence of \"will he manage to save her?\". He arrives, she's already dead, and through our editing his desperation becomes very clear and relatable.","FLORIAN: And the Voice Isolation came with the same update, I think.","FLORIAN: Bitter reality.","FLORIAN: Daniel, can I just ask, with your Final Cut background, were there moments where you said, “let me do it myself”? Did you also sometimes, maybe for the better, push the keyboard over to each other?","FLORIAN: I think it’s great.","FLORIAN: My experience is almost the other way around, that I always say, \"I know you don't like it, but I'll remind you in two days, that maybe we should cut it out.\" Here the director is fighting obtrusively for something? But I guess it makes sense in your collective construct?","FLORIAN: The filmstrip view and how visually Final Cut presents everything, even to a bystander, is helpful to your work.","FLORIAN: We agree on that. Were there certain challenges in this fine-cutting phase, where you struggled and fought or where it just took longer and you were able to solve them?","FLORIAN: Yeah, cool. Let's go into your fine editing phase then. David, you had Denis and Daniel sitting there all the time - or did you send them out of the studio sometimes?","FLORIAN: Yeah, that’s in every process, usually after three weeks of fine editing or so. I would now slowly shift towards post and then wrap the whole thing. Maybe a little question about Final Cut: Did you miss something essential in the whole process? Or where you guys said, \"Gee, that feature would actually be good.\"","FLORIAN: You haven’t been so limited in time. For a TV movie you have to be done after 10 weeks.","Picture Lock Timeline with Playouts and Burnins above"]},{"l":"Post Production","p":["Delivering with Final Cut Pro","DANIEL: Yeah, it's awesome. I think during the edit itself - no complaints. Since I also did VFX, I took over the project technically after editing. And there are a few things during the handovers. For example, I would like to be able to lock the cut. That you can kind of say, Primary Storyline: no more timing change. That would be nice, for example. And sometimes it's a bit annoying that metadata in the Event and Timeline don't stay in sync. For example, if you create a Role for a VFX-source, that is not reflected in the Event, e. g. as a keyword-range. The information is only in the timeline. We had VFX shots marked with their own Roles to get them out as sources for VFX. I just did the math again. 71 fullblown VFX shots, but in reality it was more like 90. And that's not counting stabilizations. Because I did it all myself it was quite a lot of stuff. Then, of course, like I think a lot of people, we also had problems with stabilization, one should just be able to rebuild them 1-1 on other workstations, I think. And timecode... Or is that solved now? There is this timecode window. Is it possible to display the different tracks? I still don't think so.","FLORIAN: Well, you can display it, but you can't burn it in.","DANIEL: Exactly. That's also really annoying, for example, that you can't do proper burn-ins. That would be really nice for a professional workflow, when you send it out to sound-post. So I brought the stuff into Resolve and made burn-ins there, then brought it back into Final Cut. It always takes time.","FLORIAN: Well, there are workarounds inside FCP for these problems, but it could be better. And what was the point with stabilizing? So it wasn't the same on one computer as it was on the other?","DANIEL: No, that worked. But at some point it was like, you do a stabilization and everything is good. If you open it up on another computer, the analyzing never stops (note.: is constantly re-rendering). And the still frame is different from the moving picture. Feels a little wonky, I'd say.","FLORIAN: It would actually need some kind of render lock for one clip. That's what Alex4D once suggested.","“ I also think that you can't design sound as beautifully in almost any other tool as you can in Final Cut. It's an incredibly cool sound tool! ”","DANIEL: Exactly. At least some kind of rebuild function for the internal effects, which are otherwise great. And of course a render lock would be great as well. I think those are the few things I can think of right now. I also think audio lanes are great. I'm very happy about that. I also think that you can't design sound as beautifully in almost any other tool as you can in Final Cut. It's an incredibly cool sound tool! And that's super important to all of us. We worked on sound a lot and very precisely. So it's a shame - but this is a ProTools issue - when you put so much work into details that then all goes down the drain in transfers. I think that's really sad. If I still had time to learn programming somehow, I would do everything I could to get the sound in the studio to be exactly the same as it is in the edit. And also this \"In Avid, a lot of people only edit with mix-tracks\"-paradigm, that you don't really care about the sound in the edit, that bothers me.","FLORIAN: So, when you think about the deliveries now, David, you just handed it over to Daniel? And although you onlined it at WeFadeToGrey you still did the VFX and even the grading?","DANIEL: Exactly.","FLORIAN: But in Resolve probably.","Audio Lanes View of final edit"]},{"i":"pre-gradinghome-office","l":"pre-grading@home-office","p":["DANIEL: Exactly. The film got proper grading after all. And of course, that's only possible because I did a relatively intensive pre-grading. I built myself a nice little grading box in the office with black styros. With my Mac Studio and a 4K-DCI Eizo monitor, which I calibrated to 709. Then in Resolve I worked in full resolution in DaVinci wide gamut/intermediate, which is the RCM-2 color space, a color managed workflow. So I prepared grading on my 709 monitor and cut in all the VFX, then I could just switch to P3D65 to prepare it for the grading cinema. So that process worked extremely well if you ask me.","FLORIAN: Kind of like ACES, right?","DANIEL: So when ACES came out, I was always working in ACES. And when RCM-2 was released from Blackmagic, and the new HDR grading tools ... that is, I think, from the usability so fine, so nice to work with, I find ACES in comparison a bit ... sharper, feels more brutal somehow. I think (as a director) it makes much more sense to colorize your own film than to edit it. You can quickly change things radically. And develop a taste and build and try things out. Long story short, it's been a bit low-tech of course that I did it here in my office but then we moved to WeFadeToGrey and had the total opposite there in the grading cinema. That's kind of where the magic is for me. And what we haven't even said yet: We shot with the Sony Venice on full frame Cooke lenses, all 3:2 open gate in RAW (X-OC-XT), so 2:1 anamorphic 6K. Which is a quasi-12K image (de-stretched) or 12096x4032. But the finish was in 4K. WeFadeToGrey helped us a lot, especially Swen Linde supported us very well. We can only be very grateful. I don't think you could have done much more deluxe in Cologne. They were major supporters of us.","DAVID: Exactly, even though we wanted to do a lot ourselves, they really helped us out a lot.","FLORIAN: And this high resolution, of course it helps with VFX, as well as in editing, when you want to zoom a little further into the frame. I assume that you also used that more often.","DAVID: Yes.","DANIEL: Yes"]},{"i":"director--vfx-artist","l":"Director = VFX-artist?","p":["FLORIAN: Okay. I think now we should, but I'm still interested in the VFX workflow, briefly. So did you do those in Resolve or did you send them back to Final Cut?","DANIEL: Well, I did the onlining in Resolve. You have to know, during film school, I already had gathered experience in title design, grading and VFX-stuff for family and friends. My secret, technical post-production life, so to say. (smiles) So I did the VFX partly in After Effects, partly in Fusion. We don't have any 3D composites in it. But I always sent everything back into Final Cut easily via fcpxml, so that we could make clean playouts and sound transfers \"offline\" with the 2K proxies. We also re-delivered if anything was needed, or looked for another take. The Final Cut project was still in use during that process.","FLORIAN: Okay, okay, okay.","DAVID: Maybe a mini remark about the VFX. We just really had an endless number of retouches.","FLORIAN: Removals, retouches, split screens.","DAVID: Split screens and also really complex split screens, sometimes with two or three other retouching layers.","FLORIAN: Especially because of the handheld camera every single plate has to be tracked before comping, probably a bit tricky.","DAVID: Exactly, and therefore mostly zoomed in a bit. So it's not an uncomplex thing that Daniel did there. Which was just cool, briefly back to the editing process, because we were just never in the situation of having to think about whether it can be paid. We just did what we wanted to do in the end. Denis and I rather tried to hold Daniel back and say, hey, can't we not kill this VFX-shot, because you know what else you have to do.","FLORIAN: Daniel, how long did it take?","DANIEL: Yeah, a long time. I think three, four weeks at least. It was really crazy. But it was also cool. It was glamorous. Almost all the tracking stuff I did with Mocha because I did a lot of rotoscoping stuff with it as well and I just really like using Mocha. Also the performance with these 6K, de-stretched, was relatively good. I mean, I don't even want to pretend it had good performance when it comes to that kind of footage. It was overwhelming. A violent footage tornado that ran through my equipment. I worked with Mocha Pro. It was super awesome, I have to say. But then I had some problems with Mocha. There's a relatively new surface tracker in the Pro version that you can use to track organic stuff. It always crashed. And then I wrote back and forth with Boris FX support several times a day for a week, I think. It was a very intensive exchange. And that was really cool, how they took care of it. I thought that was totally great.","FLORIAN: Because it was so fresh on the M1, probably."]},{"l":"Working with Independent Developers","p":["“ Technically, I found that going through this process with Final Cut was incredibly convenient. Even the re-delivery process was very relaxed. If you document it thoughtfully! And if there's one tool that invites you to do that, it's Final Cut. ”","DANIEL: I have one last thing. And I'll make this real quick. What was so cool for us was when our producers and everybody said we're going to go back into the mix and we're going to re-cut. That everyone worked together like that. With EDLX, I pushed out EDLs for reconforming and created changelists with \"Change List X\". With reference audio because we cut with stems and only brought in original audio where there were changes. I provided the Soundpost with a small flood of deliveries and that worked super well. So don't be afraid to change things afterwards. It's not like we changed every other frame now, it was much more selective. We added one more scene, took one out, changed a few timings and tried to relax so that we didn't have to go into the whole process again. In the process, two or three VFX shots were created and I did the conforming in Resolve, I bounced the transfers back to our audio post, which worked really well. And I have to say, a little bit of “new school filmmaking” is that you don't let technical shit like that stop you. That just because you have a Picture-Lock planned, you're not going to change anything anymore. It's important, of course, that you do it reasonably and don't, like a maniac, say, “I'm not going to stop editing the film”. Technically, I found that going through this process with Final Cut was incredibly convenient. Even the re-delivery process was very relaxed. If you document it thoughtfully! And if there's one tool that invites you to do that, it's Final Cut. You get lists beaten out of there, technical solutions via Resolve and other tools... you can do things that are otherwise very difficult.","DANIEL: I think they were a bit keen on it, but they also saw, I think, that I do comparatively complex tracking stuff that you have to get to grips with somehow. But I was totally accepted by them. They sent me an alpha version early on so that I could work here. And that was just totally awesome, I thought. It was like a little nerd convention, over email and a little bit of chat, just solving problems with each other. So, you know, the nice thing was that I didn't really have a deadline. It wasn't like, fuck, now I've lost three days with some technical problem and I have to hustle through it so that I can keep to my timing. And I had a short contact with the X2Pro people, Marquis Broadcast. They also helped a lot to identify the problem in the first place. For example, we were talking about 32-bit audio. I think they've got a handle on all that in the meantime. (edit: yes. Fixed in 4.5.16) And that was just great that someone could make a reasonable statement. That you don't somehow only look for the error in yourself and don't understand why there is only noise in ProTools.","DANIEL: I worked with that as well. Yeah, that was great. So I did all the VFX lists with Producers Best Friend. Absolutely awesome. Even with thumbnails! If I had done that by hand, I would have been on it for a week.","DANIEL: Probably. It's not quite set yet, but that's what we're assuming right now.","DAVID: That's the plan, January, February.","DAVID: We'll keep talking at you for another two hours. (Laughter)","Event Structure, all Sync Clips","Florian Duffe made his debut as Film Editor with Luna (FCPX, 2015) and has since cut several Movies and Series for German national Television, most of them in Final Cut Pro. Most recently he was credited Additional Editor of the dystopian Sci-Fi-Thriller “Paradise” (Avid MC) on Netflix.","FLORIAN: Fingers crossed.","FLORIAN: That's good to hear. So I'll say, David, Daniel, thank you so much for talking to us. I wish you big success for SCHOCK. That's going to start in January 2024?","FLORIAN: Yeah, insane. And they're all very accessible. If you're lucky, you can solve your problem within two days with two emails. I’d say, shall we officially call it a day?","FLORIAN: Yes, that was my experience as well. Especially in the Final Cut world with all the third-party developers. Intelligent Assistant or CommandPost for example.","Follow Florian here:","Mastodon","re-edit with cut-in Audio-Stems for convenient reconform","Twitter"]},{"l":"Discuss this page"}],[{"l":"The Future of Everything","p":["Animated in Animate, Finalised in Final Cut","As animation commenced, I began to piece the edit together as shots were approved and delivered. This was all tracked using a Google Sheet with the shots available to the whole team via Box.","As the edit started to come together, I’d share my thoughts with Mike and the producer who would look at WIP edits and communicate notes back to the animators based on shots that may need some minor tweaks to help the edit. It might be a frame here and there or (very occasionally) a whole rethink, but due to time restraints, we’d often have to compromise, focusing on what served the story and what was achievable in the time and with the resources we had at our disposal.","Being from a live action background, this was a different workflow for me. During pre-production, Mike would board each episode and build an animatic in Storyboard Pro which had a voice scratch track that Mike would produce himself, along with basic sound design elements and some music tracks for reference.","Below you’ll see my basic library setup for the project. The Library title was unfortunately auto generated by PostLab so the naming convention is a bit funky. A while ago, Chris Hocking who is the head of post at LateNite introduced using emojis in our Event & Folder naming structures. Although a simple thing, I’ve found this to be useful in identifying folders and events quickly and efficiently, particularly when you’re under the pump. Sometimes it’s the little things that help to keep a workflow moving.","Due to the pace in which we were working, and with multiple animators across each episode, there would occasionally be minor slip ups with the colour of a prop or a missing design element as we cut from a wide to a tight. In this instance, if we could we’d do a quick fix we would, rather than having to go back to the animator who might’ve already moved on to the next episode.","For post, we set up the project in PostLab so we could utilise the collaboration tools it offered. We encountered a few issues, with some work lost when uploading changes, however the terrible internet in Melbourne could have equally been to blame. As mentioned, the animatics for the series were produced in Storyboard Pro, from which we could export Final Cut Pro XML (.xml) files, along with any rendered visuals separated by panels. Using SendToX, I then produced a timeline with cut points along with Mike’s temp audio work. This was essentially my starting point.","Hi! I'm Kevin, the editor of The Future of Everything, a 2D animated anthology comedy series created by writer/director Mike Greaney.","If we got stuck, we’d occasionally have to pull some tricks, like repeating frames or holding frames to get the frame or two required to fix our issues.","Once I got into the edit, I would use Mike’s animatic for timing, to spot any unwanted changes that may have occurred during the migration, and to spot missing shots that may have gone unallocated or missed by the team. On episode one, I would sometimes use the .xml from the animatics to do scene detection in DaVinci Resolve, however I found that the exports from Storyboard Pro were reliable, so I abandoned this step pretty early on.","Once we had what we’ll call our first assembly edit in place with our completed shots, I’d look at the rhythm of each shot in the context of the edit, and start building a more robust sound design from the animatic.","Once we locked our edit - we’d then turn over our temp sound and music to the designer and composer respectively. On this job we were fortunate that Dead on Sound handled both. We’d export an AAF with X2Pro, with settings to discard any inactive or disabled audio. We’d also embed the audio with eight-second handles. When the mixes and stems came back as .wav files, it was just a matter of adding them as connected clips, assigning a new role, and disabling all other audio roles.","One area where live action differs from animation, is that the animatic is where you get your timing and ‘edit’ right before you start animating. Our focus during this period was sharing notes between the team on Frame.io and finessing the animatic so that by the time we entered the edit, there were really only minor tweaks required to reach our final locked off master.","That first episode was about setting up how our workflow was going to function, so there was a bit or trial and error involved, but once we found something that worked for our post team, as well as Mike and the producers, we stuck to it for the remainder of the series.","This Post-it note on top is my first prop design debut, helping to fix a continuity problem.","To finish with an interesting aside - we found that the episodes with less dialogue and narration tended to be the ones that required more tweaks, as the pacing tended to be more dictated by the animation rather than sound. Not hugely relevant to our workflow, but interesting none the less!","With the first twelve shots that I received, I exported ProRes 4444 from Adobe Animate and then imported them into keyword collections, that were organised by date, in the Animations Event I’d created. This became my process, eventually welcoming all 51 shots into my timeline for episode one. As mentioned, I used the .xml to help me lineup shots for timing, and would export weekly WIP edits for Mike and the producers to review."]},{"l":"Watch Series"},{"l":"Discuss this page"}],[{"i":"der-schatten-the-shadow","l":"Der Schatten (The Shadow)","p":["Case Study for a Mystery Thriller Series"]},{"l":"The Story","p":["A young journalist, Norah, moves from Berlin to Vienna to start a new job. She is starting to research in the local art-scene and with homeless people.","A homeless woman makes a prophecy to her: In 6 weeks Norah would kill a stranger with good reasons.","This prophecy is tangling up with her own past - lots of flashbacks into her teenage years - and gradually drives her into despair and self-doubt.","This television series is an adaptation of the novel by Melanie Raabe.","Still frames of Der Schatten. A woman in front of a painting of a wounded woman, a winding staircase, two people in a mortuary, a steep escalator","You can watch the show here(eventually geofenced, if your not in Germany)."]},{"l":"Trailer"},{"l":"Stats","p":["1 Assistant Editor","3 Film Editors","6 x 45min Television Series 53 shooting days, 174 shifts of editing, 29 days / episode 89 hours of footage, 3946 Video Clips, 3491 Audio Clips 6 main FCP-Libraries, one per episode","Budget: Estimated budget of 650k-800k / episode (day-time-budget TV in Germany)","CommandPost- Using Titles to Keywords for line-by-lines","Final Cut Pro 10.6.4","iMac (i7)","MacBook Pro (i7)","MacMini (M1)","MacStudio (M1 Max)","Notion- To build a digital bulletin board, one scene = one card","OWC Thunderblade, SanDisk Extreme Pro, LaCie rugged SSD Pro, et al.","Post Crew:","PostLab- Collaborating in 6 libraries on 4 workstations in 3 cities","Producers Best Friend- Creating lists (ADR, VFX, Music, DI, Motion Design)","Production Company: Keshet Tresor Fiction","Public Broadcaster: ZDFneo (\"young\" Side-Channel of ZDF)","Storage:","Sync-N-Link- Creating Sync Clips with Metadata","Tools Used:","Workstations:","X2Pro- Send Audio to Soundpost (Sleepwalker)"]},{"l":"Locations","p":["Principal shooting took place in and around Prague, Czechia, with additional exterior shots on location in Vienna, Austria.","Main post-production was handled in Prague. Rough-cut was done in 3 different German Cities at once. For the fine-cut we gathered in Berlin.","Map Europe, highlighting data-flow between Berlin, Prague, Vienna, Munich and Ulm"]},{"i":"how-hard-was-it-to-get-fcp-approved","l":"How hard was it to get FCP approved?","p":["Not that hard. In this case the director, Nina Vukovic, knew and liked FCP - so the Production quickly agreed to my editing concept. Additionally I can point to half a dozen major projects I have done so far on Final Cut Pro.","But of course, since FCP is not as common as Avid MC in the industry, it always takes a little bit of convincing of every department to approve such a workflow. And its essential to have well-trained Assistant Editors. Fortunately, for AEs, its easy to switch to FCP. If you already are an experienced Assistant, the basics can be learned in two days, with a little remote support over the following week. Whats also true: if you dont have a post-production facility that knows FCP to their heart, its my responsibility as Head of Editing to be informed of the entire workflow. I have to guarantee that it will work and I have to fix it when it doesn't. Thats a burden Ill gladly carry, because the maintenance of the FCP ecosystem is way more easy to handle than for example Media Composer. And I have a solid international community to back me."]},{"l":"Editors","p":["2021 was a very busy year in the industry (in Germany) and it was not easy to find Editors at all. After a few calls Martin Wunschick, an FCP-native like me, gave me his ok that he could join us later in the game. He suggested Silke Botsch, a very experienced Editor, who had occasionally edited on FCP before, features and animation projects. Since I was just finishing another TV-feature when principal shooting began in July 2021, we agreed that Silke would start with selecting and assemblies while I would part-time-organise post-pro workflows and AEs. After 4 weeks I joined as an Editor and Martin joined 2 weeks before the director would hit our editing rooms. Until then every Editor selected and assembled what whatever came from set, regardless which episode. With Martins arriving we finally settled into our episodes, two per Editor. From there we had around 6 weeks with director Nina Vukovic left to lock the picture.","Editors, from left: Florian, Silke, Martin","Assistant Editor Raja Weiler @ Work","This is my mobile editing room in Berlin. I opted for a 1 display + 1 A/V-Output setup for max flexibility.","Mobile editing setup (Berlin)","My studio setup in Munich has 2 in front + 1 A/V-Output (different movie, though).","Studio editing setup (Munich)"]},{"l":"Workflow","p":["Assistant Editor (Ulm, Awesome Pixels):","At this stage, it's a proven and constantly improved workflow.","Creates parts in FCP via CommandPost's Titles to Keywords","Creates Sync Clips with Sync-N-Link (+ Audio Metadata import)","DIT (Prague, Magic Lab)","Download Masterfiles on local drive","Downloads Masterfiles on local drive","Editors (Munich, Berlin):","Further adjustments in FCP (markers, notes from Script Supervisor)","I counted. Der Schatten is my 8th major project in FCP(X).","Moves every Masterclips into each episode-library.","Populates scene-Events with Sync Clips and moves them into dedicated episode.","Pre-Grade and Transcode to ProRes Proxy on set. (I would prefer ProRes LT, but we opted for Proxy to have less data to download)","Relink new files with FCP once, the rest is taken care of by PostLab","Start editing","Updates Notion database with necessary information for the shooting day","Upload onto cloud server (Prague), QC in-house (Prague)"]},{"l":"PostLab","p":["The PostLab workflow is pretty straight forward and feels very safe. It stores every upload in the cloud. Fast internet is mandatory with big projects for this setup to work.","1 episode = 1 production (PostLab) = 1 Library (FCP)","Below you can see that 3 editors worked on the same episode within 3 days. Everybody has to leave a short note, what they were working on. At any time it's possible to go back to these instances and revisit or copy over the former edit. If a library is opened by another Editor, it's locked for everyone else. But you can open a copy of the last safe at any time.","Main user interface of PostLab","All additional Media, like Music, VFX-mixdowns, SoundFX, etc., is synced via postlab.drive. Setting up PostLab.drive to sync the additional files on 4 workstations correctly takes a little bit of effort, comparable to other backup-structures. The goal here is to not duplicate files or overwright folders. (Thanks Sam Plue for the help!)","This was the Finder folder structure on every workstation:","Screenshot of Finder structure, dedicated folders for Masterclips, FCP original Media Folder. Every Editor has its own folder for additional footage","With the flexibility of PostLab - and fast SSD-RAIDs - we could easily jump between episodes. When our Assistant Raja had anything to manage, e. g. importing new scenes, it was easy as closing the project, make coffee, come back to work. Sure, with increasing complexity of the project we had longer upload-times, but we are talking maybe 4-5 minutes twice a day. Compared to how long other NLEs take to even open big projects - nothing to worry here.","Also worth noting is that the user support of the PostLab team is very fast and helpful."]},{"l":"Organisation inside FCP","p":["Every Masterclip goes into every episode. Sync Clips go into their episode.","Conceptional diagram of the distribution of Masterclips and Sync Clips into every episode"]},{"i":"why-all-the-masterclips-in-every-episode","l":"Why all the Masterclips in every Episode?","p":["Our Mystery-Thriller script featured many flashbacks. We opted for this approach to keep the flexibility and move selected scenes to other episodes without the risk of accidentally recreating Masterclips, a feature/bug Apple yet has to tackle. With this system we were able to freely gather moments from other episodes, for example for a dream-sequence. And boy did we make use of it! Now we only needed to open a copy of another episode (PostLab) and could steal a cut from our fellow editors."]},{"l":"Masterclips","p":["The Masterclips are purposefully put into 1 Event per 5 shooting days to not overload an Event. They just have keywords for their shooting day.","Screenshot of an Event, shooting day 26 to 30 with 508 clips in it","When Final Cut loads an Event (or Compound or Timeline) and the clips inside reference to other Events, FCP hast to load these events, too. If these are very big (> 1000 Clips) FCP seems to struggle with reloading. Its one of those things that are no big deal when they occur occasionally (just wait a few seconds), but can annoy when they appear every other time you switch the Timeline. So, we break up the Masterclip-Events into chunks of 500-1000 Clips. Meaning 11 Events for 53 shooting days in this case."]},{"l":"Event Structure","p":["Because there are no folders for Events we have to be creative with the naming. It may look frightening, but in practice it's a minor issue. As Editors we are used to long lists and many files. That said: all FCP-Professionals wish for Event-Folders and Apple is aware of that. We will get them eventually.","All the Events of episode 5, roughly 100.","Alright, we do it the old way then, with a prefix before the name that sorts the Events accordingly. The Events are named with scene numbers, sometimes we use Emojis or additional text to describe the state of the scene.","Sorting system with * and Spaces in the beginning of Event-names","A scene Event contains the Sync Clips + the Compound Clips with the Assembly or Rough-Cut versions + additional files such as wild tracks. Tight and tidy and helps with orientation.","One single scene with around 30 clips (takes) in it.","The Scene-Compounds then are assembled into a timeline. In this way we can easily rearrange the order of scenes, test out music or different versions of scenes. Below you can see that some scenes havent been shot yet. So we place title-cards as placeholders. Close to the fine-cut we take blocks of scenes and put them into bigger Compound Clips. In this way we can see the wider flow of the episode and refine the edit inside the Compounds.","Rather late in the process, maybe 3 days before Picture Lock, we break apart the Compounds to have the whole episode in front of us for last refinements. This is both, an organising decision and an efficiency measure, because FCP is still getting slower with complex timelines longer than 30 minutes. If youre working in reels the App stays snappy.","Episode 2 in the timeline, with several Compound Clips of different lengths"]},{"l":"Notion Database","p":["To complement the flood of footage and keep 4 Editors in the loop about the shooting schedule we use notion.so. (credit to Knut Hake for finding this!) Its like a bulletin board in the cloud with flexible views.","Below you see the arrangement for every shooting day. We can look ahead what is coming the next days, what is shot, but not yet delivered to us and what is ready to edit.","View of a notion database, every shooting day is a collumn, every collumn shows cards for the scheduled scenes","Each scene is represented by a card. It provides a summary of the state of shooting and syncing. Additionally there is a screenshot, special comments from director and Assistant Editor. We can write notes of our own about the state of editing in case someone else will pick up the scene later on, and even report back to the set, for example to the Script Supervisor.","Notion card in detail, different properties like Location, notes, shooting day and episode are filled with information","You can sort and filter the database. In this case (below), the list shows shots that are not yet finished or have missing data.","A smaller list, which only shows scenes that comply with the selected filter requests","Or you can simply have a nice gallery of your episode to get an impression of the visual concept. Great for directors and DoPs!","A gallery view of episode 1. storyboard style."]},{"i":"line-by-lines-parts","l":"Line-by-Lines (Parts)","p":["Line-by-Lines, or parts, as I call it, is the process of splitting every take of one scene into little chunks, usually for one line of dialogue or one particular action. These little chunks are reordered so that you can watch every similar part of every take in succession. In this way you can quickly compare every angle and find the best shot or dialogue.","Shortly before our production started Chris Hocking had the Titles to Keywords feature for CommandPost ready (commissioned by Knut Hake) and it rendered my old workflow obsolet. Before, we would tag every Sync Clip in the Browser with keywords. Even with dedicated shortcuts and scripting it was not an easy task. If you made a mistake and had to go back one step you could loose orientation. Now, we can complete the entire process within a timeline and with titles and we can also adjust each step throughout the process.","As you can see below its as easy as:","Create a title with dedicated name (e.g. part 01)","Copy it over to the next take, adjust length, and so on","then you send it to Titles to Keywords and are presented with an Event, where all takes are thoroughly tagged with a keyword for every part , which you can then rename with more information, if needed. (screenshot further down below)","This process even works with Multicams and stacked Sync Clips (multiple cameras layered in sync with TC).","Timeline with all takes in a row. above it titles with different lenghts are placed on the clips","finished Event, one keyword is selected. one short line in each take is highlighted yellow to demonstrate the ability to find a moment in the take very fast","For the sake of efficiency my approach is to not have every line, but 2-3 lines (around 20-25 seconds) in one keyword. This is small enough to have good orientation and, at the same time, not too many keywords, which also can be distracting. Depending on the length of the scene, we would have 5-9 keywords for our \"parts\"-system. The new process takes around than 20 minutes per scene, compared to the old approach, which could take up to 1 hour. The result is something like what's shown in the picture above: When you click on the keyword, which has parts of dialogue or a description of the moment in the name, you can quickly find the line you're looking for (circled in yellow). With the skimmer, it's a matter of milliseconds to play them in succession, select one, and exchange it with the take in the timeline. I also use this for the initial selection process in longer scenes. This is an excellent way to compare different takes on a macro-level."]},{"l":"Deliveries","p":["After Picture Lock we sent:","FCPXML to DaVinci Resolve for Color Grading and VFX","AAF via X2Pro to Sound Design and Music (if the timelines are well maintained beforehand sound-designers will be happy)","Lists for ADR, DI, VFX, Motion Design and Music via Producers Best Friend"]},{"l":"Conclusion","p":["Even though we edited in three different places simultaneously and moved to Berlin in the middle of the production everything went fairly smooth.","CommandPost s Title to Keywords sped up the AE-workflow significantly.","Final Cut and PostLab enabled us to concentrate on the creative work and even jump between episodes to build a compelling story.","The visuality of the Browser, the Magnetic Timeline and the overall efficiency of Final Cut Pro provide us with the necessary tools to be creative, even in time-demanding scenarios."]},{"l":"About the Author","p":["After his studies of Fine Arts in Munich, Germany, Florian Duffe started as an Assistant Editor in feature films (Hell, FCP 7, 2010, Finsterworld, Avid MC, 2013).","He made his debut as main Editor with Luna (FCPX, 2015) and has since cut several Movies (Tatort) and Series for national Television, most of them in Final Cut Pro.","In 2020 he was credited Associate Editor at the team of dystopian Sci-Fi-Thriller The Colony (FCPX, Director: Tim Fehlbaum, Editor: Andreas Menn).","Follow Florian here:","Twitter","Mastodon"]},{"l":"Poster"},{"l":"Discuss this page"}],[{"i":"indias-space-odyssey","l":"India’s Space Odyssey","p":["India’s Space Odyssey, the science documentary produced by Miditech Studios for Warner Bros. Discovery/Discovery+ India released in October, 2021.","It is special in one of many ways, i.e. it was edited completely on the Final Cut Pro X while pandemic regulations also being around.","It is Directed by Pria Somiah and Edited by Palok Singh."]},{"l":"Notes from the Editor","p":["Hi, my name is Palok Singh. I am a Producer-Director and Editor based in New Delhi, India. I collaborate on independent projects while also running my own creative production company called The Qurious Studio. I am the Editor on the Discovery+ India science documentary India’s Space Odyssey. It bagged the award for Best Current Affairs programme for a single Asian market at the Content Asia Awards.","I have used FCP X since its inception in 2011, while we were still working on FCP 7 and I have been a FCPX user ever since FCP 7. The transition from FCP 7 to FCPX was fairly smooth for me, however it was not the same story out there. For most editors the change was overwhelming, particularly the Producers and Production companies became extremely hesitant towards editing on FCPX. And with FCP7 dissolving, premiere occupied most of its space.","So, when I was asked to edit Space Odyssey, like a disclaimer, I had to tell them I edit on FCPX and if that is cool. Now, FCPX has to not just struggle with lack of information on it but also misinformation in the popular circle. I addressed few of their concerns holding my ground with confidence and then I believe they did not had much of a choice given the pandemic as well, so they gave it a nod.","India’s Space Odyssey is the story of the Indian Space Program that goes six decades back to as early as 1962 and before. That meant there was going to be a plethora of data to be managed, while we edit. A lot of which has to be archival footage, in all kinds of files and formats and the last thing to be shoot data. Like I remember the first batch of data, about 20 GB, sourced from NASA archives was eventually never used. All that clubbed with the data, Pria who produced and directed, and her team, shooting remotely in different parts of the world, would also come to my edit studio as they happen.","So I could anticipate much in advance that the core need on this project would be to have a robust data management within FCPX and outside as well. I took some time before the data could start coming in to do some homework on organising and structuring data, in order to follow a process that helps me when the project grows up to be complex. For this specific process demand, I could bring everything to work from keyword collections, smart collections to notes and metadata. Further I spoke to a few seniors but mostly wanted to peek into any pro editors process. Looking around YouTube, I feel most fcpx tuts/videos are often created in context to YouTube content only and there’s limited resources on YouTube for Pro editors. But I did find some help, one of the helpful videos I easily recall was from This Guy Edits, that helped look around the process of an editor to a Academy Nominated Doc. In conclusion, I think by end of project nothing else proved more crucial than doing that homework on organising and building a process to manage data because I never missed or struggled to find a file till the project finished.","Outside FCPX, I had used a drive cloning application to make an automated clone of the drive I was working on every few hours, since I was editing from my home studio and there were no RAID Storages.","Further, I had introduced Frame.io to the production team, since review and feedback were in question as I insisted on editing at my home studio and did not wanted to edit at a rental studio given my COVID-19 precautions/reservations. At the end Frame.io just didn’t turn out to be a saviour but it was so well received that it was further used by the production team on their other projects as well.","In terms of editing, I was editing on a 2017 27-inch iMac with 24GB RAM and an external monitor and I’ve never had a considerable hiccup with regards to FCPX’s performance and stability. It is one of those reasons that I had never left FCPX for, it is safe, stable and unbothering. Good organising, optimising legacy formats, keeping ample space in drives, managing volumes of render files, using Video-Audio roles from scratch, easy multicam syncing-editing and good old cutting were some key highlights to my workflow. Additionally, the documentary, perhaps due to budget constraints, was also colour corrected and graded in FCPX mostly using default tools. All in all, I could simply focus much more on the creative aspect of edit and lesser on the technical requirements once correctly setup. The FCPX workflow allowed me to have the headspace to discuss the edit creatively with my director and address creative concerns.","That said, there were still some genuine questions during the project, some answered and some had to be taken outside FCPX for help. Those addressed were like when exporting master the Discovery specification required a .mxf (OP1a) and I had to dig internet to learn and satisfy my director, that FCPX’s MXF export is by default wrapped in OP1a format. Others that did not find an answer were like the LKFS parameter, for which I could not find a solution within FCPX and I had to take my export file to Premiere Pro which had a LKFS meter.","Beyond performance and stability, I also use FCPX because I find the interface design much less intimidating and chaotic as compared to its contemporaries. The only complain is that there’s much less confidence in the industry on FCPX. And since I do not edit on any other NLE, I am turned down on many many more gigs compared to the numbers I am accepted on. Apple too seem to not take it with much seriousness as they do to their other products. Lately I have been looking towards Resolve to switch, if that ever happens."]},{"l":"Trailer"},{"l":"Promos"},{"l":"Poster"},{"l":"Screenshots"},{"l":"Discuss this page"}],[{"i":"blood--gold","l":"Blood & Gold","p":["Blood & Gold premiered on Netflix on Friday May 26th 2023. Fully edited in Final Cut Pro.","Directed by Peter Thorwarth and edited by Knut Hake.","I (Sam Pluemacher) was the Assistant & VFX Editor on this production. If there are any questions please feel free to reach out to me.","To get started, here's a short excerpt from an interview with director Peter Thorwarth about Blood & Gold published on Blickpunkt:Film:","Once upon a time... a German spaghetti western","The origin of \"Blood & Gold\" goes back to 2006. As you saw with \"Blood Red Sky\", I can be persistent when it comes to material I really believe in.","This time we shot a lot outside, on real locations. That generally creates more of a mood and a better atmosphere. For our little town of Sonnenberg, we went to Vysluní in the former Sudetenland. The story we're telling could have actually happened there. There is a big neo-Romanesque church there in the center [...] this had been desecrated by the communist government, which gave us the opportunity to really shoot our showdown there. To shoot an homage to the Italo-Western with a shootout in a church has always been my dream. Accordingly, the church was the main reason why we chose Vysluní as the location.","Netflix was the gamechanger for me. They made two dream projects possible for me - both of which I had been trying in vain to get off the ground for more than ten years before that.","Excerpt from Blickpunkt:Film - Thomas Schultze 25.05.2023 12:48"]},{"l":"Quick Facts","p":["Netflix feature film (2022) - 95 minutes","47 shooting days near Prague, Czech Republic","185 VFX shots realised by Accenture Song VFX & Pixomondo","Edited on a MacBook Pro M1 Max and Final Cut Pro 10.6.5 in Berlin & Munich"]},{"l":"Workflow","p":["This workflow has been proven stable & reliable on 5 different Netflix productions & many more to date.","On previous shows we would mostly work remote from each other. With Blood & Gold we moved into a new studio in Berlin which made us reconsider a few key aspects of our workflow.","We've been using PostLab for a couple of years already and love the stress-free collaboration and its backup abilities. Working on large libraries requires a lot of up- and downloading which were constrained by our internet bandwidth. I setup a PostLab Local server on a M1 Mac mini which greatly reduced upload times (down to around 60 secs from previously 10-15 mins). The instructions to setup a Local server can be found in the Hedge documentation and we were able to set it up in 2 days without any prior knowledge of GitLab. For additional security we implemented Tailscale (Wireguard VPN) to restrict access to the server, which also allows us to access libraries remotely.","We considered a Jellyfish NAS for our media management, but couldn't justify the cost for our 2-person studio. PostLab Drive is a great tool for working remotely, but it still requires all media to be uploaded to their server. We were looking for a similar tool that would keep our media in sync which lead me to Syncthing. It allows you to sync directly over your local ethernet network, but also syncs peer-to-peer over WAN access. For additional security these connections are also running through Tailscale. This setup allows us to be very mobile and we solely work off OWC Envoy Pro SX 4TB drives which are super-fast and rugged. In addition we keep daily backups on two OWC ThunderBay Flex 8 drives.","Before shooting started we talked with our post-production supervisor, sound recordist, script supervisor, camera department and DIT on set to align our workflows.","We discuss editing codecs and naming of media files. We usually prefer ProRes 422 LT files because of the excellent quality to size ratio that is suitable for cinema screenings.","It is especially important to make sure they shoot with permanently synced timecode. For the sound files it is important to carry over the iXML information so that FCP can read the correct channel names.","With all of the above set we continue to setup our edit bays and our workflow down this project.","An in-depth version of our workflow can be found here: Final Cut Pro Workflow for feature films"]},{"l":"System Setup","p":["Post Haste allows you to save folder structures as a template. Huge timesaver as we name all drives or RAIDs identically and work with the exact same folder hierarchy.","Syncthing enables us to synchronize all media in the background between our different edit bays. It works over the internet as well as on a local network without the need to upload lots of data.","Tailscale is a super easy VPN solution for building secure networks and allows you to remotely access from any network or physical location.","Notion is our database to keep track of the production status of each scene, VFX shots and other useful information."]},{"l":"Edit Preparation","p":["We use a number of different tools to prepare our shooting days:","PostLab offers stress-free collaboration for Final Cut Pro. Upload your FCP Library and everybody on your team can access it over the cloud. It also serves as a time-machine as you can revert to any uploaded iteration of your library. Starting with this production we moved to PostLab Local.","Lockit Network is a powerful script supervising tool that collects metadata on set which can be ingested into Final Cut Pro without the need to manually copy-paste important script notes.","Sync-N-Link is a tool to batch synchronize dual-system audio and video and to batch-create multicams. You can also use a target project to create synced clips in a different aspect ratio.","CommandPost is the Swiss Army Knife for Post Production Professionals. It offers several toolboxes that offer huge time savings. One of which is to create line-by-line keywords:\" The Titles to Keywords toolbox is a huge timesaver when editing complex scenes. Couldn’t live without it anymore. And directors love that every delivery of any line from any take is just one click away!\" - Knut Hake - Additional information can be found in this article fcp.co - Script-focused feature film Workflow"]},{"l":"Editing","p":["Here are a few tips for the editing part when working on a Netflix production:","Use roles extensively as they help organize the timeline and makes turnovers easy and comprehensible.","Netflix requires all non-english content to be captioned for all internal screenings. We used MacWhipser with on-device transcription and then translate it using DeepL to generate captions.","Blood & Gold included lots of fighting and shooting sequences. We used Audio Design Desk to do temp SFX layouts which made this process fun and super quick. Their Final Cut Pro integration made things a really smooth process.","We used chapter markers to tag VFX shots as they are easily searchable in the timeline Index.","Create a Compound clip for every VFX shot and place all iterations inside. They are very useful to update VFX shots in multiple timelines and have access to previous versions."]},{"l":"Turnovers","p":["X2Pro will generate a ProTools AAF which includes roles as named tracks making the session very organized for the sound editor.","EDL-X creates industry standard EDLs for either picture or sound turnovers and can be easily filtered by roles for specific turnovers.","Producer's Best Friend generates rich & detailed spreadsheets that we include with any turnover as they show all relevant metadata such as effects, keywords, markers. We also use those reports to ingest information into our Notion VFX database.","Change List X lets you compare two timelines and generate a detailed report that shows you all edit changes."]},{"l":"Trailer"},{"l":"Additional Links","p":["Final Cut Pro Workflow for feature films by Knut Hake","fcp.co - Script-focused feature film Workflow by Iain Anderson"]},{"l":"Discuss this page"}],[{"l":"Turn of the Tide","p":["Turn of the Tide premiered on Netflix on Friday 26th May 2023. Fully edited in Final Cut Pro.","Created by Augusto de Fraga. Edited by Marcos Castiel (Ep's 1, 2, 5 & 7) and Pedro Ribeiro (Ep's 3, 4 & 6)."]},{"l":"Notes from the Editor","p":["\"Turn of the Tide\" was a turning point in my editing career, allowing me to use my favourite NLE for fiction.","Although I have been using Final Cut Pro (FCP) since 2019, it was only reserved for commercials.","As a group, we even wrote an open letter to Apple addressing the issues we sometimes face trying to convince producers to let us edit on FCP.","Color was done in Resolve, sound in ProTools.","Fast forward to 2022, and I was invited by the creator and showrunner of \"Turn of the Tide\", Augusto de Fraga, to edit the series. I said straight away I was going to edit this on FCP. Augusto told me, \"I don't really care what you use to edit. That's your thing. Run with it\".","FCP is so fast that we spent more time focusing on the creative aspect of editing and not on the technical ones.","For sound turnovers, she used X2Pro to create AAFs, which our sound team praised. Our AAFs were very well organized. We can thank FCP roles feature for that.","However, when I was asked to edit Netflix's \"Gloria\", I opted for Premiere instead, due to the post-production house's lack of experience with FCP.","I also called the color grading and sound studios to talk about validating my XMLs and AAFs. That workflow test went seamlessly.","I wish this case study could be longer, but the editorial process was so smooth that I really don't have much to say.","Marcos Castiel (Ep's 1, 2, 5 & 7)","Originally, the plan was for me to edit all seven episodes, but time constraints meant I had to share my workload with another editor, Pedro Ribeiro.","Our 1st assistant, Maria Ruiz, smoothly handled VFX turnovers and color using FCP's native XML.","Pedro is an avid user and veteran editor, so I had to break the news to him that, for this one, he was using FCP. Pedro spent two weeks learning the software, and that was it.","The editorial collaboration was made possible by PostLab, a third-party software tool since FCP does not have native collaboration built-in.","The English title of the upcoming series, \"Turn of the Tide\", holds a deeper meaning for me.","The production company asked for a workflow test, which I confidently agreed to.","The production company initially resisted the idea of using FCP, and I vented my frustration to fellow editors about the lack of trust in FCP for major projects.","The same issue arose when I edited the feature film \"Remains of the Wind,\" which was also done in Premiere.","To prepare, I read Knut and Sam's Notion Workflow Guide for FCP on feature and episodic TV, which I highly recommend to anyone using FCP for fiction.","We used shared storage and edited seamlessly without technical hiccups."]},{"l":"Trailer"},{"l":"Poster"},{"l":"Screenshots"},{"l":"Discuss this page"}],[{"l":"External Case Studies","p":["Here's a collection of case studies found outside FCP Cafe."]},{"l":"Apple","p":["Here's some links to case studies on the Apple site:","Jenn Jager","Our Last Night","Blood Red Sky","Elsa Rhae and Barron Link","The Banker"]},{"l":"Blogs","p":["Frame.io also has an incredible blog jam-packed with quality content.","Here's some case studies we've found online:","ONA: Better Care for a Lifetime (16th January 2018)"]},{"i":"fcpco","l":"fcp.co","p":["Here's some links to case studies on fcp.co:","Timbrée or How to Use Stamps to Build a Story (09 May 2023)","In Love with Final Cut Pro (10 February 2023)","Native BRAW Editing in Final Cut Pro with Chris Hocking (08 February 2023)","evrExpanse 3 Adds Features for EXIF Metadata XML Import into Final Cut Pro (08 February 2023)","BRAW Toolbox and Gyroflow Toolbox (29 January 2023)","Bright Future; Slow Progress (27 December 2022)","Using an OLED TV as a Monitor — Crazy or Genius? (29 November 2022)","The Very Best One-Key Shortcuts for Final Cut Pro (17 November 2022)","A New Script-focused Feature Film Workflow for Final Cut Pro (11 November 2022)","Solve Review and Approval Problems for Music on Video with Freque (04 November 2022)","You can find more over at fcp.co.","Something missing? Contribute! Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Transcriber","p":["A Developers Story"]},{"l":"Initial disclaimer","p":["Hi, before I start I would like to say a couple of things about what you will read: this article will talk about a product that I have for sale.","Let me be very clear: I am not writing this article to advertise myself, that maybe, eventually, will come later... Every time I make a product I end up writing somewhere, on some website, an article that tells the genesis of that product, its story.","And I am here precisely to tell you a story, a five-month long story about the launch of my latest app, Transcriber, that I will try to condense into \"a few\" paragraphs...","So I am not here to sell you the product whose story I am about to tell you, but to chat, and if downstream of this reading you would like to interact with me, ask me some questions, ask me for insights, even give me some criticism, more or less constructive, I am here, absolutely happy to debate and learn something new."]},{"i":"first-of-all-who-am-i","l":"First of all: who am I?","p":["Again, before we begin two words about yours truly: my name is Alex, I live and work in Milan, Italy, I studied computer engineering and then, \"fortunes\" in life led me to become first an editor and then a video producer.","Now my official label, as far as my occupation is concerned, is \"director of TV commercials and promotional videos,\" however, I deal with all aspects of production and especially post-production in a small company called Exmachina, also in Milan.","Throughout my career as a video maker, however, I have always made small tools, tiny programs, utilities that we use internally in the company as an aid to the management of the video and audio production processes (I probably forgot to tell you that I have also been doing podcasts for 12 years, my last show, if you know some Italian, is Techno Pillz in which I talk about my work as a programmer and video maker).","After the great crisis of 2008, which was overwhelmingly felt in Italy in 2011, I had to kind of find a way to reinvent myself, so I started in 2017 to refine some of the applications I had made and then sell them directly on the Ulti.Media website.","Initially it was not even a second job, as much as, let's say, a kind of hobby, but for a few years now in this second job has become a very important part of both my personal and professional life, with a market that is starting to get interesting.","Today I spend half of my time making videos and the other half of my time making programs that help those like me who make videos, audio, podcasts, and so on..."]},{"l":"It all started with a tweet","p":["Towards the end of 2022, and in January 2023, I started working on a very ambitious application, a voice synthesis application, with the goal of becoming an interesting replacement for the \"cheaper\" versions of video tutorials: the ability to have not simply a text-to-voice generator, but a real project management system as if you were directing a virtual speaker.","I don't know if this program will be able to see the light of day before the end of 2023, I'm still working on it and it's quite a long process, at any rate, also earlier this year, I had started to do some experiments with Whisper, for transcribing audio, something that is quite handy for me to find keywords in podcasts (and which I've already done using Siri in another application of mine, FCP Video Tag).","In early February someone asked on Twitter if and how it is possible to automate the transcription of video so that I can then use that transcription to generate subtitles in Final Cut Pro.","And someone added, \"it would be interesting to see what the guys from Ulti.Media would be able to do in this regard.”","When someone mentions you on Twitter, first you are honored, then amazed, then you respond with such sincerity, \"I was actually just working on this thing...\"","And that's where it all came from, the idea of making an application that can use a much more efficient, effective and qualitatively better engine than Siri's to pull out subtitles in SRT format.","In my head, during my car rides between home and office, I began to form the idea of an application that would not only pull out subtitles but also allow text editing, something derived from the same text editing engine as the other application I am developing, the one that does the exact opposite, from text to voice.","I was just about to start putting down some code and data structures, when I do a little research: surely I'm not the first one who has something like this in mind, let's see what others have done.","So I come across Macwhisper, an excellent application by Jordi Bruin, download it, try it out, and decide not to pursue developing my own application: this competitor has already done it all and done it very well, too!","(Note that in an article in which I talk about one of my products, I quote one of my competitors and give him high compliments: at the very least in marketing school they would have flunked me with a grade worse than unclassifiable...)."]},{"i":"but-i-can-do-something-different","l":"\"But I can do something different.\"","p":["Sometimes I think Christopher Nolan's movie Inception is based on the ideas that become mental woodworms in the space between my ears... I kept thinking about how I would develop the application because while Macwhisper was perfect in some ways, it was more designed for transcribing audio, and not for managing subtitle streams with easy, visual, in-sync editing...","Part of me simply said to myself, \"you can do it too, and do it different enough so that your application can still have its own dignity.\"","This is probably referred to in psychology as \"megalomania.\" I think it's more unconsciousness, however, often and often the most fun things I've done in my life I've done just with a considerable amount of unconsciousness.","You know what? F* ck you, I do that too!","Well, yes, I decide to develop my application anyway and focus it on a different, probably fuller workflow than Macwhisper's, and I start testing with Whisper's Large model, made available in open source by the people who created it: OpenAI, yes, the same people as ChatGPT."]},{"i":"why-chatgpt","l":"Why ChatGPT?","p":["Let's make a nice technical digression, since we're here among friends, pretend we're in a pub, and we've made it to the third round of beer, only instead of talking about soccer or some other sport, we're nerdy enough to get excited about something technological...","So why is Whisper so important? And what ties it to ChatGPT? I will try to explain things in a simple and certainly inaccurate way, so those who understand a little about artificial intelligence, plug their ears...","Whisper is a transformer, and while Siri, Alexia, and Google try to understand the word or phrase that was spoken, Whisper goes a little bit wide and also tries to understand the context of each phoneme, and through a very broad knowledge base as well as statistical calculations, tries to make each word follow the word that makes the most sense, consistent with what is being spoken.","Whisper's wide model takes up a good 3GB, a little more in memory when it runs, but it is still to be considered a \"basic\" model, probably ChatGPT four is at least 100 times bigger - which is why it will be difficult to run something like this on our computers.","Rose-water technical details aside, this is one explanation of why Whisper is so much more accurate and also succeeds where other transcription systems stall: in the unfortunate event that it does not understand a word or part of a word, it \"reconstructs\" it from what comes before and what comes after.","Another major struggle was to \"teach\" (although perhaps the correct term would be to specify) Whisper to also generate punctuation marks, such as periods, commas, question marks, and escalation marks.","Pay attention to this: when you dictate to Siri you have to specify the punctuation mark you want to add.","Small color note: this very article is accomplished by dictating to Siri while I am moving between home and office by car.","One of the great peculiarities of Whisper is that it can also figure out what punctuation marks are, but this is not something it does automatically, you have to specify some input parameters so that it understands that the context has to include them as well."]},{"l":"Before the prototype","p":["In short, teased by the Twitter discussion and the endorsement, I started playing around with this system, trying to figure out what I could get out of it and what the limitations of the technology were.","I think I managed to make a very first prototype, with, of course, a horrible user interface within 7-10 days. And, of course, I started testing it with all the work I was doing in March 2023, projects of various kinds: from pharmaceutical video presentations to a video game trailer to some tutorials.","Here I encountered the first limitations of Whisper, which performs exceptionally well when the audio is quite clear, content with a speaker or interviews, while it goes deeply into crisis in case music or sound effects are present.","Initially, I told myself that this would not be a big problem, just specify in the requirements that the application was best suited for spoken content, nevertheless I felt the need to refine it, so I rolled up my sleeves and wondered if there was a possibility of parsing the audio in such a way as to find the points where there was speech and then eliminate those where there was only music or sound effects.","I succeeded by taking advantage of some libraries provided by Apple for analyzing sounds. Subsequently, one thing I have been working on in parallel with both this app and the one that does text-to-speech is the highlighting of sentences in sync with the video (or, rather, with the audio).","I always thought that when doing a speech review, physically, the people in charge have in front of them a sheet, printed in Courier font, with all the features of the script. For this very reason I wanted the words and sentences to be written in this same style, not so much for skeuomorphism, but because it is still the most effective and efficient method of reading the text while listening to the related audio.","I worked not a little in such a way as to continuously highlight the line of text that is \"spoken\" at a particular moment in time.","When there is information that varies over time, the concept of a timeline is one of the strongest: it transforms the horizontal axis into that of time, so the playhead moves from left to right as the playback continues.","Showing in a two-dimensional screen information that evolves over time is never a trivial matter, not least because it involves making user interfaces and real-time interaction methods, which in some ways have more to do with video games than with video writing programs...","This is why I am particularly proud of this part of the code; not only is the segment highlighted with the sentence being spoken, but it is also easy to interact with it by correcting any transcription errors.","It sounds like a breeze, but believe me, it's not!"]},{"l":"3GB of passion","p":["Another big problem stemmed from the fact that the model I wanted to use, again in open source and with respect to legality, takes up a good 3GB, as I mentioned earlier.","Downloading a 3GB application, as annoying as it may seem, is not that problematic, for the installation to begin with.","But then I thought about all the times there would be a need for an upgrade, and downloading 3 GB of stuff, most of it always the same, would be particularly troublesome, especially in areas of the world where connection speeds are not comparable to those of the big European or North American metropolises.","So I set to work on making a system that would allow the downloading of the template only the first time, and among other things in \"shared\" mode, so that in case I wanted to develop another application based on the same technology, it could safely use the model already downloaded (spoiler: thing I have actually already done with FCP Video Tag)."]},{"l":"The field test","p":["\"Of course yes!\", I replied, and the fact that I had a real use case, with tight deadlines and a not inconsiderable qualitative demand, led me to work heavily on the application, so as to improve as much as possible the interface and also the possibility of exporting the subtitles in different formats, including text with total transcription, unsynchronized, and later also RTF with time code indication in a different style.","And it was during the interviews that it was asked if it was possible to have even a rough transcript of what was being said for medical and scientific review.","And since Transcriber's purpose is to extract the subtitles from the audio, I thought, more or less simply, to add precisely the subtitle overlay to the video, so the eyes are all and always in the same area of the screen.","At the end of April I had to go to Florence to attend a medical conference and do several interviews with many doctors, in a total of 12 languages, including English, French, Spanish, Italian, German, Polish, and Brazilian Portuguese.","I patted myself on the back because this stuff, in the end, among the transcription applications, I guess I only had it...","I told myself that there had to be a way to \"split\" a subtitle while still keeping the text in sync with the video.","In practice, the traditional transcription process, which involved typing the texts while continuing to pause the video, translates into an automatic process of \"raw\" transcription, which must necessarily be followed by a (much faster) checking phase.","In the end I decided that, as an option enabled by default, the system tries to figure out whether the user has pressed the ENTER button to wrap, and when it is pressed, the split sentence automatically generates two subtitles that are fairly synchronized to the video, where \"fairly\" means \"more or less imperceptibly.\"","Just by making these doctor interview videos, I told myself that by keeping the video played at the top of the interface separate with the transcribed text at the bottom, the user's attention would be focused on only one of the two.","Just looking at the overlay subtitles, I realized that although I had struggled not a little to try to get Whisper to digest the punctuation marks, in some cases the sentences were so long that they would result in huge subtitles that would take up too much of the screen.","Let me be clear: I have always considered Transcriber as a semi-automatic tool, this means that the transcription should still be reviewed a human being.","The boundary conditions are simple: artificial intelligences are very fast, very efficient and also very effective, but they don't understand what they are doing; it's just data to them. It's up to us to maintain control.","This also sounds like a no-brainer, but it's not, not least because the system, during playback, continuously updates itself (about 30 times per second) to try to figure out where it is, among all the phrases being spoken which one is active at that instant of time, and then highlights it at the bottom and shows the text content superimposed on the video.","This has led to better fluidity in handling the interface and the ability to interact very easily and very quickly on the text stream.","This is the philosophy of all the apps I make: automate as much as possible, while still leaving control, verification and, not least, responsibility to a flesh-and-blood guy.","You see, my applications are born and grow in a fairly almost \"autistic\" way, but then it is really with user testing (and also when I make tutorials) that I discover the limitations and areas where they can be improved."]},{"l":"Text Editor","p":["One of the features of Transcriber that I like best is the text editor, the subtitle editor.","From a purely technical and data structure point of view, each of the scripts corresponds to a different record in the document's \"internal database,\" called the Session.","When working with text, however, for example with Microsoft Word or Pages, what appears in the sheet is a single text that can be edited easily.","I did a lot of work so that text editing would be as similar as possible to that of a traditional word processor, while still allowing for the ability to manage how the texts remain \"attached\" (i.e., synchronized) to the video.","The whole component of transcription, and managing the synchronized texts, was one of the most complex but at the same time also quite elegant things I have ever done.","I tried to make things as simple as possible and as intuitive as possible for the user, while going out of my way to mask any complexities.","If a title is too long, it is highlighted with a red dot which means that, given its length, it would take up too much space in the frame.","The user then has the option of standing anywhere in the text and pressing the ENTER button to wrap, and by wrapping, in a natural way, the subtitle is broken into two different titles while still keeping all the words in sync.","Said like that sounds like a piece of cake, but believe me, this is something non-trivial! And this is also how I have operated with regard to the separation of subtitles while they are being transcribed and generated: trying to isolate sentences or sentence segments (separated by commas, \",\") as much as possible, so that we always have meaningful content to display, without truncated sentences or with subjects being in one subtitle and verbs being in another subtitle."]},{"i":"i-got-a-publisher","l":"I got a publisher!","p":["At the end of 2022 I was contacted by the guys at FxFactory because they were interested in publishing some of my apps on their store, on their marketplace.","This filled me with joy, pride, and also with fear: for the first time I would be playing in the big leagues, and I would have to maintain much higher quality standards; this time I would not be doing everything myself, but I would also have to be accountable to someone else for my work.","Initially we had planned to bring a couple of my most popular apps, such as BeatMark Pro or FCP Diet 2, to this marketplace, adding features and cleaning up the interface.","I, however, proposed that they start with a completely new app, whose name initially was Transcriptor.","I initially met some resistance, partly because such apps already existed, such as the aforementioned Macwhisper.","I then explained the reasons why this new app of mine could be something alternative and provide added and different value than the others.","In concomitance with NAB, where several apps that make use of artificial intelligence to aid production and post production were presented or announced, those in charge of FxFactory were convinced and switched on the green light.","One thing needs to be emphasized: FxFactory is not only a store, a showcase, but those who run it put their faces first and consequently require a level of quality, communication, and even user experience that is far superior to what I had had up to that point.","If I had commercialized Transcriber all by myself, it would probably have come out in some form of its own in late April or early May 2023.","Instead, FxFactory raised my bar higher and higher, trying to reach heights of communication, user interface, functionality, and overall quality level that I was not used to.","And, I have to be honest, I don't think I can thank them enough for making me grow, and making me grow so fast."]},{"l":"Exporting to Final Cut Pro","p":["Initially Transcriber was not supposed to allow exporting subtitles to Final Cut Pro because I already have an application in my catalog that does just that, FCP SRT Importer 2, by the way one of my most successful applications (which means that the gentlemen at Apple and whoever is in charge of managing Final Cut Pro development should ask themselves some questions if so many people need such a basic feature...).","Let's say I didn't want to cannibalize myself, even though I knew Transcriber would be a higher cost application, there would probably be enough of a market for one to buy Transcriber bundled with FCP SRT Importer 2.","But then, again for that Florence job, I realized that the double step: transcribing the subtitles, revising, exporting the subtitles to SRT format, then bringing them back into FCP SRT Importer 2, and finally communicating the whole thing with Final Cut Pro, was really... a big pain in the ass!","In the end I had all the technology, the know-how, why not add this feature to Transcriber as well?","And so I did, in the span of only one day I added all the features that were already in FCP SRT Importer 2 directly inside Transcriber.","It has to be said that, having chosen to make the UI in SwiftUI, creating configuration panels was never very complex, and one could focus more on business logic than on appearance and user interaction.","In short, the app was taking shape the decidedly concrete way."]},{"l":"Multiple SRTs","p":["The work of doctors in Florence has evolved over time, and the client also asked me for the ability to view interviews, but with subtitles translated into various languages.","Nothing could be simpler: after doing the transcription and export in SRT format, I proceeded to have these subtitles translated; and then imported into FCP SRT Importer 2 to make the localized videos in the various languages.","This, however, resulted in a decidedly disrupted workflow where I could not actually see the effect of the translated subtitles without first exporting them, or making a peer comparison between each individual sentence from the original to the translated version.","So it is, in a moment of madness (Alex, for next time, remember not to do this kind of thing again with a product that has not yet been released!) I expanded the underlying model, the data structure, to allow multiple subtitle imports.","Basically now Transcriber allows you to have infinite streams of subtitles, in various languages, and also to show side by side the original and translated sentence.","It may sound like a triviality, but this is really a very powerful feature, especially for those working with \"minor\" languages, for which localization, translation, export, and management of different streams is an integral part of the production and post production process.","Basically, with all this work done under the hood, I had transformed Transcriber from an application that deals with a single link in the localization management chain, into an aggregation center that allows for a global and centralized view of projects, always in synchronization between text and video.","Oh boy, this stuff was getting serious!"]},{"l":"The Dome Factory","p":["In the meantime, we got to the beginning of June 2023, I kept asking to get the application launched, but the publisher kept asking me for more and more refinements and better management of the interface.","They were certainly right, but the timing of these final cleanups and subsequent approval left me with an open project, and every time I used it, which happens pretty much every day, I would come up with little features to add.","As a result, what should have been a \"Minumum Viable Product\" was becoming an increasingly complex application, and of course with the need to handle any bugs I would generate by adding new code."]},{"i":"videos-videos-videos","l":"Videos, videos, videos!","p":["Since I had started to develop a system for synthetic speech of more or less \"sufficient\" quality, I decided to change the way I make promotional videos and this time use a synthetic speaker.","This might be a more or less debatable choice, I am the first to fear very much the \"uncanny valley\" effect, but I believe that the quality level of synthetic voices has reached such a level that, in any case, at least from my point of view, it is preferable to a promotional video made with only overlay text.","So here I made my first promo video.","And, because the application is definitely complex, some things may even seem intuitive, but to understand how the workflow works in my opinion you need to sit down for a moment and understand a little bit what is the best way to operate, I decided to also make some tutorials of increasing complexity, making use of both screen captures and animations made with Adobe After Effects, which is the program I use most in my first job as a video maker.","This time I tried to maintain a distinctly high level of quality, not only in the promo but also for all the side videos, it was a really big effort, maybe it might not look like it, however trying to show things in a quick, effective, clear, understandable way without becoming pompous, is not a child's play...","Find all the videos I made for Transcriber here.","And, in addition, one important thing there is to say: every time I set out to make a tutorial, therefore trying to do things the way any user would do them, I find a lot of mistakes or things that can be improved, so to make a video of a few minutes, it can take me even several days because, in the meantime, I am working on the code and improving the interface or adding features."]},{"l":"The run-up before the jump","p":["By early July 2023, the application had reached a level of stability that FxFactory said was sufficient to be marketed.","I was then asked to create artwork and a minimum description for marketing, as well as a promotional video.","All things I had already prepared, however, small problem: in the promotional video I had made I had used an image taken from a very famous movie.","Nothing you can't see anyway in any kind of promotional material from this same movie, however, the publisher politely asked me to replace it with something else so as to avoid any copyright issues.","Datum done, in one day I revamped the promotional video and made all the art work.","I was basically ready to go."]},{"l":"The Launch","p":["The launch was set for July 6, 2023, I received the news in the early afternoon, and on that day, I remember it was a Thursday, I was playing with my son and listening to some music.","I was so excited by the news that I started dancing, making my son jump up and down.","It was a scene somewhere between tender and ridiculous...","At 9:30pm, Italian time, the application was launched, and I noticed because I got the first email notification of successful transaction.","I was finally able to post news of the launch on Twitter with the link to be able to download the app in trial mode (for the record: in the trial version it allows you to transcribe the first 45 seconds of the movie or import subtitles for the first 45 seconds).","I spent months raising expectations about this app on Twitter, to the point where I had probably lost some credibility as well: I felt I was ready to launch in late April, early May, and then instead it was a full two months later...","Was it worth the wait?","From the end users' point of view I don't know, from my point of view?","Heck, yes!","This was the craziest launch ever since I started having this small software development business.","Having a publisher like FxFactory behind me, I achieved in two weeks what I set out to achieve in two years!","This does not mean that I have become rich, this does not mean that the pressure has eased, and after the initial explosion, the values settle down to a more or less quiet regime.","And the first week, but perhaps also the second week, were weeks of great work on my part to improve the things that were missing, add the features that were requested, as well as fix some idiosyncrasies and bugs: I had never been able to test the application with complex languages like Chinese, Japanese, and Korean, and I found that syntactic construction and more or less \"special\" characters needed to be handled more accurately.","Let's say that I haven't slept, or slept very little, for about two weeks now..."]},{"i":"and-now","l":"And now?","p":["Now, that this app is in the world, since it is in the hands of so many people, I have discovered so many use cases and workflows that I had not thought about.","My task now, my commitment, is to satisfy as much as possible the requests of most users, going in and filling in any holes or things I had not thought of.","The first weeks, the first months after launch are characterized by a flood of new ideas and suggestions, many of which can be accepted and turned into new features, some of which cannot, because they would meet the needs of too few users or would be difficult to implement...","No app is perfect, no app is complete, software is increasingly something that is constantly evolving and transforming.","Very often I look back and think that many of the programs I have built over the years came about because Apple had not put some functionalities, even very basic ones, directly inside Final Cut Pro.","I have slipped into this \"niche\" by trying to find a way to speed up workflows and get users (but myself first and foremost) to focus on the more creative stages of the post production process, using the tools I create as if they were novice interns: young people who need to learn and need to be supervised, but who can contribute by doing boring, repetitive, even easy work with little added creative value.","In the meantime, I'm working on at least two or three other new apps that I'd like to bring to market, tools that can help video makers who do everything themselves speed up their work.","Well, the story, for now, stops here, but we can have a chat directly with the comments to this article, below, or follow me on Twitter, I am quite active and respond quickly...","Finally, if you want to find out about the other things I do, and other apps I have developed, you can find everything on my website: Ulti.Media."]},{"l":"Thank you","p":["At the end of this long article, I hope I haven't bored you, I would like to sincerely thank Chris for all the support he has given me these past months and all the knowledge he has provided... I can never offer enough beers to repay you!","Finally, thanks to the entire community on Twitter, who have supported me and put up with me patiently over the past few months while waiting for the release of Transcriber.","Thank you again, if, you have been an unparalleled energy boost!"]},{"l":"Discuss this page"}],[{"l":"Asset Management","p":["This page contains a collection of Asset Management tools for Final Cut Pro.","Want to contribute or add your Asset Management Tool? Learn more here!"]},{"l":"K"},{"l":"KeyFlow Pro","p":["An affordable, easy and scalable media manager for you and your team.","Store, sort, search, preview, annotate, share and more with KeyFlow Pro 2."]},{"l":"Discuss this page"}],[{"l":"Motion Templates","p":["This will eventually be a directory of the best Motion Templates.","In the meantime, we highly recommend Motion VFX.","There's also a database of free Motion Templates on FCPX Free: The World's Largest Collection of Free FCPX Plugins.","Create with a wide range of great video effects at FxFactory."]},{"l":"A"},{"l":"Adjustment Layers","p":["Adjustment Layers from FxFactory is a free set of tools to help with layering effects & elements in the timeline. Quickly connect creative effects like double exposure, split screens or apply a color grade across multiple underlying clips. Also included are utility tools that help you with guided alignments, animating elements and more."]},{"l":"Annotator","p":["Annotator is a set of flexible animated tools to mark or highlight part of your video.","With Annotator, you can draw on a hand-made arrow to point at something, throw a dotted box around something else, or even zoom in to focus on a solid circle. Though fully customisable options are included, this is not just another callout pack — it includes unique, exclusive recordings of hand-drawn animated shapes for an organic feel. Every shape includes several different options so you can use a new variation every time. You’ll find these shapes perfect for educational or instructional videos, cooking videos, reviews, or any time you need your viewers to look at something specific.","First, you’ll pick a style that suits your project — synthetic generated options with full control over stroke with and other line properties, or organic hand-drawn options recorded from the movement of a real pen. Next, from your chosen style, you’ll pick a shape:","Arrows to point at things.","Circles, Ovals, Rectangles and Squares to draw attention to something.","Lines to underline or highlight specific items and Zigzags to scribble items out. Zigzags are only available in the hand-made recorded styles.","Checkmarks (aka “ticks”) and Crosses to mark things as good or bad.","Zoom In, to magnify part of the image and optionally darken down everything else. Only available in the generated styles.","Every item here can be easily positioned, rotated and scaled using the on-screen controls. In the Inspector you can adjust many more properties about the shapes, like the color, the outline width, animation speed, and to change which organic recorded shape is shown. Dashed and Dotted styles include several relevant options so you can dial in the settings you want. Advanced controls let you add a drop shadow or a glow, or change the 3D rotation or anchor point.","All the shapes will work with any aspect ratio from vertical through ultra-wide."]},{"l":"B"},{"l":"BadAss Fx","p":["Arthur Moore makes some incredible free and paid plugins for Final Cut Pro.","His YouTube videos are also definitely worth checking out."]},{"l":"C"},{"l":"Chris Roy Films","p":["Chris Roy Films has a collection of Free FCP Templates, such as:","Keyframable 3D Camera","Parallax Push","Slide Wipe Advanced","Split-Screen Slide","Slide Wipe with Color"]},{"l":"Continuum FCPX Looks","p":["The Continuum FCPX Looks filter is a powerful plugin that includes a variety of presets for color gradients, diffusion, lighting gels, film stocks and lab processes!","BCC+ Looks Includes:","80 drag-and-drop presets","Award-Winning Mocha tracking through Pixel Chooser: Quickly mask & isolate effects","Fully customizable: Easily adjust hue-sat, brightness, contrast, grain, and more","8mm film stock, bleach by-pass, and day for night looks","Diffusion, color gradients, and lighting gels","Custom FX Editor: Browse and apply presets in seconds"]},{"l":"D"},{"i":"dylan-bates---the-final-cut-bro","l":"Dylan Bates - The Final Cut Bro","p":["Dylan has a bunch of awesome Motion Templates for sale including:","Pro Zooms For Final Cut Pro","Motion Tools Plugin • 90+ Tools For Final Cut Pro","Picture In Picture for Final Cut Pro","SABER by The Final Cut Bro","Clone Stamp Tool For Final Cut Pro","Truly Handheld Plugin v2.0 For Final Cut Pro","Pro Shapes Plugin For Final Cut Pro","MrBeast Titles For Final Cut Pro","Light Wrap for Final Cut Pro","You can use the discount code Saber10 for 10% off!"]},{"l":"F"},{"l":"FCPeffects","p":["In July 2011, Turner & Emma launched FCPeffects.com in an effort to help Final Cut Pro editors work more efficiently and effectively on a tight budget.","They continue to take pride in offering powerful tools at affordable prices and providing prompt, friendly customer service.","They are dedicated to Final Cut Pro X and its users. They are family owned and operated and consider themselves blessed to have the opportunity to do what they do."]},{"i":"fcpxtemplatescom","l":"FCPxTemplates.com","p":["FCPXTemplates.com is the \"storefront\" for Sight-Creations (the d.b.a. for F. X. Mahoney a.k.a., “Fox” Mahoney) since Nov. 1, 2013. There is also galleries of some of Fox's work, a few online tools like the Motion Template Backdater, and several blog entries."]},{"l":"FxFactory","p":["Visual effect plugins and apps for video creators. FxFactory is THE App Store for Final Cut Pro editors.","FxFactory is THE App Store for Final Cut Pro Professionals. It's like a \"pro\" version of the Apple App Store. The team behind it are also INCREDIBLE - so smart, so lovely, so talented.","Chris Hocking - 3rd June 2023"]},{"l":"L"},{"l":"LenoFX","p":["Awesome Plugins for Final Cut Pro. Perfect for Social Platforms and also for Work across a wide range of projects."]},{"l":"M"},{"l":"MotionVFX","p":["MotionVFX is a registered trademark of a company called MotionVFX sp. z o.o., founded by Szymon Masiak.","Szymon is well known in the computer graphic industry and has been working for over 25 years in the areas of computer games, commercials, and major motion pictures.","They are a small company of dedicated people based in the south of Poland.","They also make the BEST Final Cut Pro template and plugins in the world.","MotionVFX are incredible. They make some of the most amazing templates and plugin, taking into account ANY app. I've purchased hundreds of their plugins over the years, and they're all rock solid. A+","Chris Hocking - 3rd June 2023"]},{"l":"P"},{"l":"PiP Kit","p":["PiP Kit is a Picture-in-Picture plug-in. It's packaged as Effects, not drop zones in generators or titles, so you can trim, roll, copy and paste effects, and save effects presets just as you can with any regular clip. To get started, just drag one of the effects to one of your clips, and start tweaking the settings.","As well as a solid border color, you can use a gradient or outline gradient. Position the outline centered on the edge, the inside or outside, or use the Outline Offset to make something original. Remove the border entirely or leave just a shadow with the Fade Outside slider.","You can scale a PiP up from nothing, at a choice of speeds (Fast, Medium, Slow), or scale down from a full-screen shot to reveal a clip underneath. PiP Kit also includes a special set of transitions that only affect the connected picture, ignoring the background.","To use these, turn off the built-in transitions by unchecking the Build In and Build Out, then look in the transitions browser to find funwithstuff PiP Kit. These transitions have to be applied to the correct “in” or “out” side of a clip to work properly, but they do allow you to customise the way a clip enters or leaves the frame.","PiP Kit also includes several adjustment layer titles that change everything below them, and uniquely, these adjustments fade in and out. You can use the Obscure effects to apply your choice of blur, gamma, brightness, vignette and crystallize, which fade in and out with controllable speeds. Use the fade or wipe variants just above your background clips to make your picture-in-picture clips really stand out.","The last adjustment layer enables a very popular trick: punching in and out smoothly. Add the Zoom in and Out title, trim it to where you want the zoom to happen, then customise the speed. Easy, and useful even if you’re not using a Picture in Picture effect.","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Plugins","p":["A directory of Final Cut Pro Plugins (FxPlug4).","We're big fans of everything CoreMelt& Motion VFX do.","IMPORTANT: The recent Final Cut Pro v10.6.6 update has removed compatibility for all FxPlug3 based plugins immediately and without warning. This is true both for Intel Macs, as well as Apple Silicon Macs running Rosetta 2. Former workarounds are no longer viable, and opening a Library in Final Cut Pro v10.6.6 will force an update, making that library incompatible with previous versions of Final Cut Pro. Learn more on CoreMelt's Website","Want to contribute or add your Plugin? Learn more here!"]},{"l":"C"},{"l":"CoreMelt Plugins","p":["CoreMelt's mission is to bring powerful and flexible tools to video editors with simple workflow and at affordable prices. They take the tools from high end visual effects and bring them to you inside desktop software. Using our years of experience in feature films and high-end TV commercials they redesign complex user interfaces to make their software simple and intuitive to use. They also pride themselves on their customer service and responsiveness to their users.","CoreMelt is an Australian owned company founded by Roger Bolton, a visual effects veteran with over 15 years experience in post production and whose list of feature film credits include \"Lord of the Rings\", \"Kingdom of Heaven\" and \"Charlie and the Chocolate Factory\". Roger has worked as a visual effects supervisor, senior Flame operator and lead compositor all over Asia as well as in the UK and Australia."]},{"l":"PaintX","p":["PaintX is powerful vector based tracked paint. Instant fixes for damaged footage, paint on tracked effects, add tracked warps and glows. Create digital makeup effects and more."]},{"l":"SliceX","p":["SliceX lets you quickly create tracked Shape Masks to cut out layers or isolate effects. SliceX powered by mocha takes the pain out of following complex motion, just draw a shape and hit track. You can then adjust with manual keyframes as needed giving you ultimate control in a way not easily done with the built in tracking."]},{"l":"TrackX","p":["TrackX lets you track text or graphics to background movement , or track and insert a layer for screen replacements, to replace a sign, or extend a set."]},{"l":"DriveX","p":["DriveX tracks 3D text, particles, callouts and visual effects to your footage with 30 premade templates."]},{"i":"lock--load-x","l":"Lock & Load X","p":["Lock & Load is the fastest and most robust stabilizer for FCP X. Lock & Load is more than 3x faster than the built in stabilizer in FCP X and includes rolling shutter reduction and advanced region of interest stabilisation."]},{"l":"LUTx","p":["LUTx is a simple and yet very powerful LUT / color look solution for Final Cut Pro X. Our interactive LUT gallery lets you see all your LUTs instantly on your own footage."]},{"l":"ModelX","p":["ModelX is a versatile utility for adding and retextureing 3D models inside FCP. Grab a model from a popular site like SketchFab, add a logo onto it, and place it into your edit, all in minutes."]},{"l":"StyleX","p":["StyleX lets you apply a selection of trained machine learning video styles onto your footage to create unique textured effects that are far more than just color correction. Take a look at some examples of usage below, each product has a full range of video tutorials."]},{"l":"Discuss this page"}],[{"l":"Tools","p":["This page is dedicated to handy applications that can be used in conjunction with Final Cut Pro.","Something missing? Submit your favourite tools! Learn more here!"]},{"l":"A"},{"l":"ARC-X","p":["ARC-X safely archives your Final Cut Pro X projects and backs up all the elements in your edit including:","video and audio media files","graphics and still image files","fonts","3rd-party plugins","Easy Media Backup Backing up your FCPX events, projects, and clips is quick and easy. Drag and drop your project directly into ARC-X and start the backup. ARC-X gives you complete control over exactly which files to backup. Archive any combination of your project's video, audio, and graphics files - even the fonts and 3rd-party plugins used in your edit can be archived.","Simple, One-Step Restore When it's time to revise or restart your edit, restoring your a project is a simple one-step process. Import the ARC-X generated XML file into FCPX and your project is restored to its original state in seconds including titles, effects, transitions, keyword, and markers.","Powerful Media Management Use the ARC-X media inventory spreadsheet to track your project's media files, fonts, and 3rd-party plugins. The Excel-compatible file gives you detailed info on every piece of media including its original FCPX storage location.","Whether you want to protect your projects and media by archiving them for long-term storage or share them today with colorists, FX designers, and other editors, ARC-X makes it a simple and easy process. Your keywords, markers, titles, effects, fonts, and 3rd-party plugins are all preserved."]},{"l":"Audio Design Desk","p":["Audio Design Desk is to audio software what Pro Tools was to the tape machine. It’s an entirely new breed of Digital Audio Workstation that artists can play like an instrument, revolutionizing the process of adding music and sound effects to picture and cutting down what can typically be a full day project to just a few minutes. It comes bundled with 75,000 sounds embedded with patent-pending Sonic Intelligence™, using AI-assisted content creation tools to enable filmmakers, sound designers, composers, and creators to produce cinema-quality compositions at the speed of thought, giving them a level of creative control that is unmatched by any other software."]},{"l":"B"},{"l":"Backups for Final Cut Pro","p":["Ever had an FCP X library corrupted so you can't launch it? Ever gone down an editing path you didn't like and find you can't undo it? Backups for Final Cut Pro will get you out of such situations.","Install it before you need it!","Backups for Final Cut Pro is like Time Machine® for Final Cut Pro X®! It performs timed and manual snapshots of your FCP X Libraries, Projects and Events."]},{"l":"BeatMark Pro","p":["Automatic Music-Driven Video Editing for Final Cut Pro.","This software is awesome. Beautifully built, and incredibly useful.","Chris Hocking - 3rd June 2023"]},{"l":"Builder NLE","p":["There's a new app on the Mac App Store! Introducing Lumberjack System Builder NLE!","On the anniversary of the release of Apple’s Final Cut Pro X, Lumberjack System has released their Text Based Editing app as a one-off purchase in the Mac App Store.","The original and most complete Text Based Editing solution for Final Cut Pro has long been available as part of the Lumberjack System Membership. This version makes Builder NLE more easily found, and more accessible to Final Cut Pro users who want a complete Text Based Editing environment for Final Cut Pro.","Builder NLE in the Mac App Store is the same app that is available through the membership, but without access to the wider Lumberjack live logging tools. It continues to include unlimited free transcription in 16 languages, closed caption support on Stories, unlimited stories, a comprehensive Keyword Manager, and extremely powerful search and filter tools to get you to your stories faster.","You can learn more about Lumberjack Builder here."]},{"l":"C"},{"l":"Canister","p":["Canister takes the hassle out of LTO.","So easy... it's like LTO for Dummies.","Keenan J. Mock, LightIron"]},{"l":"Caption Burner","p":["Caption Burner is a plugin for Final Cut Pro, Premiere Pro, After Effects and Motion that lets you burn captions and subtitles into your video.","Caption Burner helps deliver video for platforms such as Instagram® that do not allow caption information to be submitted as metadata."]},{"l":"Caption Converter","p":["Caption Converter is an app for macOS that lets you import, export, edit and translate caption and subtitle information in the following formats: iTunes Timed Text (iTT), WebVTT (VTT), SubRip (SRT), SubViewer (SUB), Adobe Encore Script and Adobe Premiere Pro Markers (CSV)."]},{"l":"Captionator for Final Cut Pro","p":["Captionator for Final Cut Pro uses the hardware inside your Mac to automatically generate captions and high energy titles like you see on all the biggest YouTube and TikTok videos. You can easily keyframe or animate individual words, or entire sentences."]},{"l":"Change List X","p":["Finally, you reached picture lock and send the project off so the sound department can start work. Which they do. Except a week or two later, there’s just “a few minor changes when the director took another pass”…","And that’s where a Change List comes in. Because “Final” is never “Final” and “Locked” is regularly “Unlocked” again.","Change List X analyses two Final Cut Pro X Projects and produces a change list comparing the Primary Storylines of the two versions of the edit.","The report lists the changes that need to be made to the initial cut to match the new edits, step by step","The report can be created as a PDF, tab-separated text file, or both","Report times can be shown as either Timecode, Feet+Frames or Frame Count","Change List X can also create a change pull list (for new footage added to the timeline) and a change discard list (for footage that needs to be removed from the timeline)","What is a Change List and who uses them?","A Change List lists changes made between one edit and another version of the same edit. This comes into play when you’ve handed over the “Final” version to VFX, post audio and a color pass.","Inevitably there will need to be some additional edits, for whatever reason. Another pass by the Director, Studio suggestions, feedback from a focus group: it’s inevitable.","Except those teams have already moved ahead with their jobs and have complex projects built around the timing of the first edit. They can’t take the new edit and start over. What they need are the steps to convert the version they been working on, to the latest revision: how many frames trimmed here, or added there; which shots have been added, and which deleted or replaced.","The Change List is the step-by-step instructions to convert the current project to conform to the new edit. This is frequently a manual process but there are advanced tools that use the text-based change list to automate the changes."]},{"l":"Cinecred","p":["Create beautiful film credits without the pain.","Licensed under the GPLv3, everyone can use Cinecred free of charge forever. The source code is publicly available in a GitHub Repository. Contributions, bug reports, and suggestions are welcome!"]},{"l":"Use Your Favorite Spreadsheet Editor","p":["Cinecred can read the raw credits data from a Credits.xls(x) (Microsoft Excel), Credits.ods (OpenOffice/LibreOffice Calc), or Credits.csv file. Edit it with your preferred spreadsheet tool, integrating perfectly with the rest of your production workflow. Need to add a credit or fix a typo later on? Just change the spreadsheet!"]},{"l":"Live Visualization","p":["While editing the credits data and its styling, Cinecred continually updates an interactive visual preview and indicates any problems with the Credits file. Optional layout guides (press the red button in the screenshot) make both learning Cinecred and styling your credits dead easy."]},{"l":"Interactive Styling","p":["All the styling options Cinecred provides might seem overwhelming at first. But the interactive nature of Cinecred—including contextual input, live application of changes, and easy reverts—make it intuitive and fun to play around with different settings and thereby explore and learn Cinecred’s styling system. In addition, a comprehensive User Guide is readily available."]},{"l":"Get Started Immediately","p":["Cinecred initializes new projects with a template that covers many common use cases. Start entering your credits straightaway and learn how to further customize them as you go."]},{"l":"Flexible Design","p":["In addition to standard use cases, Cinecred’s flexible styling system enables a wide range of layouts and designs. Whatever you have in mind, Cinecred can likely assist you in implementing it."]},{"l":"Your Desired Runtime","p":["Have to add another name, but the score has already been recorded and synced to the earlier version? Just tell Cinecred the desired runtime of the whole credits or specific sections, and it will shrink vertical gaps to exactly match it—without resorting to shimmer-prone fractional scroll speeds. Test it yourself and press the red button in the screenshot!"]},{"l":"Play Back at Any Time","p":["Want to watch your credits in motion to verify your latest changes? Just like your favorite editing suite, Cinecred offers instant real-time playback at any time. No need to wait for your credits to render out. Also supported are the JKL shuttle keys."]},{"l":"Manifold Delivery Options","p":["Does your post-production workflow require ProRes, PNG sequences, or even TIFFs which you animate yourself? Do you want to send around PDFs of the credits for checks? No matter what the need, Cinecred probably has you covered. Expand the red dropdown in the screenshot to see all supported formats."]},{"l":"Cinecred Is Not Opinionated","p":["Cinecred was specifically designed to cater to every user’s needs as fully as possible, without adding bloat, making it hard to use, or requiring a steep learning curve."]},{"l":"Cleanterview","p":["Cleanterview helps you to clean up effectively and efficiently the audio track of your videos, ideal for interviews, for video-selfie, for any occasion when there is someone talking and… you want to hear it and make it sound better!"]},{"l":"CommandPost","p":["CommandPost is a free and open source macOS application that bridges between control surfaces and software that doesn’t support them natively, such as Apple’s Final Cut Pro and Adobe’s After Effects.","It’s been downloaded over 163 thousand times, and there are over 2.6 thousands members in our Facebook Community.","It’s been translated into Arabic, Bengali, Catalan, Chinese (Simplified & Traditional), Danish, Dutch, French, German, Greek, Hindi, Hungarian, Italian, Japanese, Korean, Malayalam, Norwegian, Panjabi/Punjabi, Polish, Portuguese, Russian, Spanish, Swedish, Ukrainian & Vietnamese by our awesome community.","It’s used by filmmakers, developers, scientists and macOS power users all over the world to seriously speed up mundane tasks through powerful and customisable automation tools.","For example, you can apply individual effects within Final Cut Pro or After Effects with the single tap of a button.","Powered by Lua(the same scripting language used by Blackmagic Fusion, Adobe Lightroom and even parts of Apple iOS), it's insanely customisable and powerful.","It runs natively on Apple Silicon and is fully compatible with Hammerspoon.","You can listen to Chris explain CommandPost on Final Cut Pro Radio Episode #57 and Episode #43."]},{"l":"User Quotes","p":["“ Titles to Keywords is a huge timesaver when editing complex scenes. Couldn’t live without it anymore. And directors love that every delivery of any line from any take is just one click away! ” Knut Hake- Editor on Netflix's Blood Red Sky","“ CommandPost and FCP are so intertwined on my day to day that I see them as one app! ” Marcos Castiel BFE- Editor on Netflix's Turn of the Tide","“ Command Post started as a FCPX utility but it goes further than that. You can use it to map almost any function to supported hardware devices to work with any app like a BMD Speed Editor and Avid Media Composer! ” Marc Bach- Editor & Colourist","“ Chris's support is the best you will find anywhere on the planet. He was proactive and able to implement features for me on the spot. 5 STAR product 5 STAR support. ControllerMate is what I used to use. CommandPost is faster and easier. ” Ross Batten- Senior Sound Designer (ProTools)","“ Search Console is like Spotlight on steroids. It can quickly find and execute any obscure command, NLE and OS-wide, fire up keyboard makros (scripts), and especially, find and place Effects and Effect Templates, directly onto selected clips in my FCP timeline. It constantly saves me clicks. ” Florian Duffe- Editor","“ CommandPost is so many things for so many people. For me it is a Final Cut Pro automation system that unlocks hidden features and uniquely supports advanced workflows. CommandPost’s secret weapon? Deep connections with the postproduction community which mean that it constantly improves as the needs of editors and post professionals evolve. ” Alex ‘4D’ Gollner- Motion Template Creator","“ Chris, you have no idea how helpful your Titles to Keywords toolbox has been on our latest production. Without the toolbox these 2-3 hour long timelines (around 900 keywords) would have been nearly impossible to tag with the FCP built in way. It's very long scenes with around 50 lines of text for all characters. ” Sam Pluemacher- Assistant Editor on Netflix's Blood Red Sky","“ As someone who doesn’t like clicking to do things, CommandPost makes my work much more likeable! ” Oli Frost- Editor","“ CommandPost supports my Loupedeck, Stream Deck and Razer devices with advanced Final Cut Pro integrations. Eliminating the need for multiple apps and reducing complexity. ” Sam Pluemacher- Assistant Editor on Netflix's Blood Red Sky","“ CommandPost is the first thing you should install If you like to tinker. This genius app extends Final Cut Pro in all kinds of ways, enabling advanced workflows, automation, and even integration with external hardware such as MIDI controllers. Recommended. ” Iain Anderson- Author of Final Cut Pro Efficient Editing"]},{"l":"Compressor Repair","p":["Compressor Repair checks for problems that could be preventing Compressor from operating correctly. It checks for missing files, incorrect permissions, an invalid hostname, and attempts to manually start the qmasterd process."]},{"l":"Csv to Motn Generator","p":["A batch program for Apple Motion. For generating a lot of motion files based on a template. Perfect for bumpers, conference intros, supers(lower 3rd), commercial spots (end posters or the whole thing), graduation yearbooks, information videos or even use it at the house of worship for bible texts.","Input is taken from a CSV file, with all the names and info. Drop it on CSV to motion generator and drop a motion project into it as well, now set up the patching of fields and choose your output folder. Csv to Motn Generator now starts to output one .motn file per line (row) from the CSV file."]},{"l":"D"},{"i":"detail-video-studio","l":"Detail: Video Studio","p":["Connect your iPhone or iPad to instantly upgrade your video, or use any USB camera, capture card, or webcam.","Detail turns your M1/M2 Mac into a powerful, all-in-one video production studio. Whether you’re creating an engaging online course, an immersive video podcast, or a polished product demo, Detail makes video production simple for everyone.","Detail works with the camera(s) you already have so all you have to do is hit record.","Easily export videos and clips to share with your audience, your editor or your team.","Get creative: Bring your videos to life with custom branding. Add titles, text, backgrounds, and images.","Get started in seconds.","Get total flexibility with magic canvas — Seamlessly switch from horizontal to vertical video, or remix your shots to create truly dynamic content.","iOS companion app: With Detail for iOS you can use your iPhone or iPad as a high-quality camera with your Mac. Connect multiple iOS devices over WiFi or USB and use any lens on your device.","Kickstart your next video with tons of free, customizable templates.","Live video: Go live on your favorite streaming platform directly from Detail or use Detail as a webcam for work calls, presentations and meetings.","Make every shot the perfect shot: AI-powered auto framing means the camera stays on you.","One simple app. Everything you need.","Plan and produce: Set up your scenes before you record and spend less time on your edit.","Record horizontal and vertical video at the same time.","Record your camera and screen, or multiple camera angles at the same time, in one take.","Record, remix, and share inspiring video in minutes. Supports exporting to FCPXML.","Shoot Once. Record Everything.","Shoot Once. Remix Everything.","Shoot Once. Share Everywhere.","Split, cut and reorder your clips, or swap out a whole scene for a better take.","Turn your long-form content into bitesize, shareable clips with automatic AI-generated video highlights.","When you hit record, Detail captures everything in sync so you never miss a moment."]},{"l":"E"},{"i":"editingtoolsio","l":"EditingTools.io","p":["EditingTools.io is a collection of web-based generators, scripts and converters designed for various post-production purposes. Optimized for workflows with Adobe Premiere Pro, Avid Media Composer, DaVinci Resolve and Apple Final Cut Pro X.","It's an AMAZING website that you should definitely check out."]},{"l":"EditReady","p":["Since 2008, EditReady has had your back when your NLE doesn’t support your camera’s file format. And now, we're turning it up a notch with EditReady Pro!","I've been using EditReady for years. It's super fast. Very clean, and logical app. Almost perfect.","Chris Hocking - 3rd June 2023"]},{"l":"EDL-X","p":["Create Edit Decision Lists - EDLs - from Final Cut Pro X XML files. The EDLs can conform to the CMX 3600 standard and can be used to bring your cut into post production systems like DaVinci Resolve, Smoke, as well as various non-linear editing systems.","EDL X features flexible Source Reel Name handling:","Source names can be read from XML files, or directly from the QuickTime files used in the project.","Alternatively, media file names, or full file paths can be used.","Source names can be made to conform to strict CMX standards (three numbers), or 8, 16, 32 or unlimited alpha-numerical characters.","All source names are user-editable, on a per-source basis.","Roles can be used to filter the clips reflected in the EDL.","Metadata associated with the footage - or added in FCP X - can be shown in the EDL as comments. This is provides a way to pass ASC CDL values on to color grading.","EDL-X can be set up so that EDLs can be made directly from Final Cut Pro's Share menu.","The app can list effects including some parameters and keyframes.","EDL-X groups all video and audio clips into as few tracks as possible. Each video track gets its own EDL, with synch audio in the same EDL.","Drag and drop XML files to create EDLs, or drag projects directly out of FCP 10.3."]},{"l":"evrExpanse 3","p":["More powerful than ever!","How to import EXIF metadata into NLEs? How to transcode Master files and embed metadata? How to do these things in an easy and smart way?","New:","Added Rating Metadata support for Canon and Panasonic Cameras.","Transcode Plus©: Streamlined Transcoding and Metadata Export","Rotate Transcoded Files Based on Source Metadata","Lightning-fast metadata exports with Epstein class engine","Final Cut Pro XML import with media file and metadata","Assimilate SCRATCH integration with media and metadata","ASC MHL integration for creating MHL’s files"]},{"l":"evrX 2","p":["Fast, Simple, Powerful...","evrX 2 makes camera metadata into macOS Finder Tags allowing you to import metadata in Final Cut Pro."]},{"l":"F"},{"l":"FCP Cut Finder","p":["FCP Cut Finder analyzes a movie and identifies cut and editing points, then sends the result to Final Cut Pro."]},{"l":"FCP Diet 2","p":["FCP Diet 2 is the most innovative, powerful and effective solution for managing projects and save space with Final Cut Pro libraries."]},{"l":"FCP SRT Importer 2","p":["Import subtitles in SRT format as titles in Final Cut Pro.","This is my preferred tool for importing SRT files into Final Cut Pro. Works great - beautifully designed software.","Chris Hocking - 3rd June 2023"]},{"l":"FCP Video Tag","p":["FCP Video Tag automatically generates keywords based on media content to be used in Final Cut Pro."]},{"l":"FCPX AutoDuck","p":["Automatic Ducking for Final Cut Pro X.","I used to duck audio by hand. Sometimes it took me hours. Now just 5 seconds!","Rick Untanee"]},{"l":"FCS Remover","p":["FCS Remover allows you to uninstall all Final Cut Studio, Final Cut Express, Final Cut Server or Final Cut Pro X components with the press of a button."]},{"l":"Final Cut Library Manager","p":["Final Cut Library Manager instantly displays all of the Final Cut Pro X libraries that it finds on your Spotlight-indexed drives. When a Library references external media Final Cut Library Manager will automatically create a group to clearly present the distribution of these media files across your system. You can also add other sources : including external disks, or folders, including those not indexed by spotlight."]},{"l":"FindrCat","p":["Simple, Easy & Inexpensive organization for your Final Cut Pro X Media. Translate Keywords into Finder Tags that are fully searchable in macOS Finder. With the Pro upgrade all keyword ranges, notes, markers, favorite and reject ranges and more, are all returned to Final Cut Pro X."]},{"l":"FoolCat","p":["Beautiful, customizable, and easily shareable camera reports.","FoolCat does one thing, and it does it exceptionally well. It is an indispensable tool in my go-to toolbox.","Philip Grossman"]},{"l":"FxFactory","p":["Expand your abilities with a wide supply of effects, plug-ins & templates for Final Cut Pro & Motion. Explore your creativity using free watermarked trials. Fully functional testing gives you confidence to purchase products that fit your needs. Simply browse & install products, then manage your collection as it grows. When switching between systems, your configuration & purchase history is seamlessly available. Discover how products we deliver will improve your workflow. Watch hundreds of demonstration videos & content previews on our YouTube Channel.","Resources for Support& Developers"]},{"l":"K"},{"l":"KeyClips","p":["The MovieSlate KeyClips app organizes Final Cut Pro X (FCPX) media into category folders, keywords, selects, and sequences- with notes, markers, and optional bottom-third titles. This helps Editors quickly find the exact footage they need.","While filming a production: log shots, notes, and/or keywords with our MovieSlate 8 app (for iOS). The KeyClips app (for macOS) matches logged MovieSlate metadata with FCPX media to intelligently generate FCPX rough-cut sequences, keywords, selects, notes, and markers.","Two Logging Workflows are supported, and can be used together or separately:","Shot-based workflow: project/date/clipname data is used to match log data with clips- well suited for script-based shoots. Log this data from MovieSlate's \"Slate\" and/or \"Camera\" tabs.","Keyword-based workflow: project/date/timecode is used to match log data with clips- well suited for documentary, reality, and interview shoots. Log this data from MovieSlate's \"KeyClips\" tab (part of an optional PRO Features subscription; available from MovieSlate's Settings > Store).","How it Works:","Logging. Log shots, notes, and/or keywords from MovieSlate 8. Once logging is complete, tap the share button to send the logged data to a Mac running macOS Yosemite (v10.10) or newer.","Log+Clip Matching. Run the KeyClips app on macos- which imports logged data from MovieSlate; imports fcpxml files from FCPX; matches logs and clips; builds new fcpxml; and sends its new fcpxml to FCPX.","FCPX Organizing. FCPX imports the KeyClips app's new fcpxml file- creating events with category folders, selects, markers, notes, sequences, and bottom-third titles."]},{"l":"M"},{"i":"media-copy-40","l":"Media Copy 4.0","p":["Automatic Duck’s Media Copy is a very helpful utility that reads Avid AAF exports or XML files from Final Cut Pro, then copies the media files referenced by the project to a location you specify. This makes it very easy to identify and copy the media you need for a specific AAF or XML File. You can archive the media, or perhaps send to another computer."]},{"l":"Media Sync Tool","p":["Media Sync Tool is a revolutionary sync tool for Final Cut Pro.","By utilizing jam-synced SMPTE timecode and metadata from the source media, it automates the sync process to the point where almost no human involvement is required, while automatically dealing with overlapped timecode.","Now all Final Cut Pro video editors can fully eliminate the time-consuming routine of manually syncing dailies by using Media Sync Tool in a bundle with Final Cut Pro."]},{"l":"N"},{"l":"NeoFinder","p":["NeoFinder(formally CDFinder) quickly catalogs and manages your entire media and disk library, and your backup archive.","The Holy Grail of Media Asset Management (according to ZDNet).","NeoFinder keeps track of your documents, photos, songs, movies, and folders wherever they are stored.","NeoFinder is your digital treasure chest! It even manages your Affinity Photo and Affinity Designer documents.","Catalog your digital data: SSD, hard disks (internal, external, USB, FireWire, Thunderbolt, HFS+, APFS, NTFS, ExFAT, FAT32), server volumes (AFP, SMB, FTP, Dropbox, Backblaze B2), Blu-rays, LTO volumes, USB sticks, DVD-ROMs, Audio-CDs, and get a full inventory of all files, folders, and important metadata, including thumbnails for your photos, songs, video files and other documents.","Find your files NOW! Whatever you need to find, NeoFinder knows where it is! If you are a desktop user, or work in a small or large network, you stay in control of your data at any time.","I've been using NeoFinder for over a decade now. We have hundreds of external hard drives and hundreds of LTOs all catalogued.","We store our NeoFinder database on Dropbox and share it between all our staff. It's rock solid and amazing.","Chris Hocking - 6th June 2023"]},{"l":"O"},{"i":"offshoot-formally-hedge","l":"OffShoot (formally Hedge)","p":["Offload media lightning fast, whether it's video, stills or audio. Make your life easy and let Hedge do the tedious jobs.","I've been using Hedge since it first came out. It's my preferred data wrangling tool. I've used it on feature films, television shows, television commercials, music videos, and everything in-between. It's awesome.","Chris Hocking - 3rd June 2023"]},{"l":"P"},{"l":"PostLab","p":["Collaborating with other editors was never this easy."]},{"l":"PostSync","p":["More than just sync, PostSync helps prepare your macOS workstation for the daily demands of your post-production workflow.","PostSync is a multi-use tool that is designed as a macOS startup utility; syncing templates and presets, clearing caches, connecting shares, launching apps, etc. But it has many uses beyond that…","PostSync can synchronize 30 different presets and templates (plus user fonts) between several edit workstations to keep all systems current. It can also help when transitioning to working remotely by copying these files to a thumb drive and transferring them to a second workstation. Or the same function can simply be used to create a backup of these files.","PostSync can also backup and restore/transfer application general preferences from Final Cut Pro, Premiere Pro, After Effects and DaVinci Resolve. It makes setting up a new workstation easier.","PostSync can help with nightly cleanup of render/cache files by clearing older files by a set date. Completely customizable for any folder on your Mac.","All this can be done either manually or completely automatic using a Calendar event or launched at login.","Your choice… PostSync is built to be easy to setup and very customizable."]},{"l":"PostWatch","p":["Alerts from Post-Production applications and macOS sent to the Pushover smartphone app.","“Is that file done yet?”","Working remotely, in the next room or out for a walk? Need to know as soon as that export or transcode is finished? Need to know about applications crashing, power going out with out knowing or drives failing or running out of space while you are away?","Now this and more is possible!","PostWatch uses the established subscription free service, for iOS and Android, Pushover to create a dedicated, clean and reliable experience for receiving alerts. What It does not do is clutter up your inbox with texts or emails that often get lost or forgotten.","PostWatch not only alerts you when 14 different Mac apps have completed exporting/encoding, it also monitors the Mac for issues; Such as accidental ejected disks, app crashes/freezes, power loss and more.","No plugins, special application settings or rendering to watch folders. (except setting a few system preferences) Export, render and transcode as you normally do and PostWatch does its magic in the background."]},{"l":"Preference Manager","p":["Preference files store information about user preferences, window layouts, toolbar placements and launch settings. Sometimes these can become corrupted, causing problems. Preference Manager allows you to trash corrupted preferences and keep backups of working preference files in order to quickly restore your settings."]},{"l":"Pro Maintenance Tools","p":["Pro Maintenance Tools keeps your editing system running smoothly so you can quickly get back on track in the event of a problem.","Use the diagnosis tools to determine the cause of the issue by analyzing crash logs or locating corrupt media files, then use the repair tools to fix the problem.","Pro Maintenance Tools supports Final Cut Studio, Final Cut Pro X, Avid Media Composer / Symphony and Adobe Premiere Pro for Mac."]},{"l":"Pro Media Tools","p":["Pro Media Tools is a suite of workflow tools designed to simplify media management and streamline workflows in Final Cut Studio, Final Cut Pro X, Avid Media Composer and Adobe Premiere for Mac. The suite contains tools for editing QuickTime movie metadata, watching render files, editing markers, and much more. The applications are capable of outputting a variety of file formats to suit different editing systems and workflows."]},{"i":"producers-best-friend","l":"Producer’s Best Friend","p":["Clips (with optional thumbnails)","Clips and Roles/Subroles Reports","Effect name; On/Off; Apple (Apple vs third-party effects); Clip Name; Role ▸ Subrole; Timeline In; Timeline Out; and Clip Duration.","Eliminate Clip Reporting hell! Every Report you need from Final Cut Pro X, in a formatted spreadsheet with no EDL or copy and paste!","Generate as many reports as you need: create a music usage report; create a report of every clip used in a Compound Clip or Project, or every clip in an Event; report stock footage used, to order the full resolution for online; list out all Effects, Transitions, Titles and Generators used to smooth online finishing (the Apple column shows whether it’s a standard effect or transition compared to one created by a third-party); report all the comments in your Markers.","Generate one report for the whole timeline, or report role-by-role.","Keyword; Notes; Timeline In; Timeline Out; Duration; Clip Name; and Role ▸ Subrole.","Keywords","Keywords and Ratings Reports:","Marker Name; Type (Standard, Incomplete to-do, Completed to-do, or Chapter); Notes; Timeline Position; Visible; Clip Name; and Role ▸ Subrole; Reel; Source In; Source Out; and Source Duration.","Markers","Markers Report","Name; Enabled; Apple (Apple vs third-party generators); Role ▸ Subrole; Timeline In; Timeline Out; Clip Duration; Font; and Title Text.","Producer’s Best Friend can generate music use reports as well as Video and Audio Effects, Roles and Subroles, Transitions and Markers directly to a fully formatted Excel spreadsheet, without the convoluted use of an EDL or copy/paste techniques.","Producer’s Best Friend creates a formatted .xlsx spreadsheet report (for Numbers, Excel, Preview, etc.) about the video clips, audio clips, titles, generators, markers, keywords, effects and transitions in your timeline or event to help you make batch lists, cut lists and music cue sheets. Producer’s Best Friend reports on Clips in a Library, Event, Compound Clip or Project. The report includes sheets for:","Producer’s Best Friend takes the tedious work out of creating all kinds of clip usage reports. Report on clips in an Event (like Batch List in FCP7), clips in a Compound Clip or clips in a Project in an Excel spreadsheet in seconds. Why spend days doing a boring task when it can take minutes?","Producer’s Best Friend will get you home earlier by:","Producer’s Best Friend will save you money because:","Providing full control over the report: choose which roles/subroles are included.","Ratings","Reports can be further processed in your spreadsheet application for formatting and additional detail, if required.","Roles/Subroles (with optional thumbnails)","Speeding the reporting of clip usage for music reports, stock footage requests, effects used, markers and keywords with amazing flexibility. Reports are complete in seconds, not hours or days.","Summary (with missing media and generators)","Titles & Generators","Titles & Generators Report:","Transition name; Category; Apple (Apple vs third-party transitions); Timeline In; Timeline Out; and Duration.","Transitions","Transitions Report:","Video & Audio Effects","Video & Audio Effects Report","Video thumbnail; Role ▸ Subrole, Clip Name, Category (primary, secondary, connected); Enabled; Timeline In; Timeline Out; Clip Duration; Source In; Source Out; Source Duration; Markers; Keywords; Effects; Notes; Reel; Scene; Take; Camera Angle; Camera Name; Frame Rate/Sample Rate; Frame Size/Audio Config; Source File Path; then columns for clip metadata.","You can choose which Roles to include in the report (Video, Titles, Dialogue, Music, Effects, and any roles and subroles you’ve created), and Preferences lets you choose whether times are displayed as seconds, frames, feet+frames or HH:MM:SS:FF timecode format.","You have full control over the report: choose which Roles to include in the report(s) including Roles and Subroles you’ve created.","Your clip reports are completed in seconds instead of hours or days."]},{"l":"R"},{"l":"Reference X","p":["Reference X is designed for FCPXML file. Listing source files from FCPXML, edit and export to new FCPXML. FCPXML is exported from Apple Final Cut Pro, Blackmagic DaVinci Resolve, Autodesk Flame, Luma touch Luma Fusion. FCPXML is simple xml formate for send and recived Final Cut Pro editing information designed by Apple."]},{"l":"S"},{"l":"ScopeBox","p":["All the audio & video scopes you'd expect from hardware, and many many more. A custom toolset crafted for creative professionals - colorists, editors, DITs, and sound. Mix and match scopes, save layouts, and be confident that you're seeing every pixel and every frame of your signal."]},{"l":"SendToX","p":["SendToX (previously called 7toX) brings your Premiere Pro or Final Cut Pro 7 or 6 XML into Final Cut Pro X so you can use Apple’s powerful new professional editing tools to update or finish your older projects. The lightweight application is simple to use, with drag-and-drop support and progress information. SendToX translates important metadata from your Project XML — including bins, clips, subclips and sequences — to a new Event in Final Cut Pro X with the highest fidelity of any translation application for Final Cut Pro. In addition, the application provides clear, detailed reporting after every translation."]},{"l":"Shot Notes X","p":["Add a suffix or the camera angle to the clip names","Add Favorite or Reject to your clips (Final Cut Pro Only)","Add Keywords to your clips (Final Cut Pro Only)","Add Notes to your clips","Add scene, take, or angle information to your clips","Create and Event/Bin for each scene with the clips from that scene\\","Export a list of clips with common metadata from your XML that can be opened in spreadsheet applications to aid in logging","Export a template shot log to take notes with while on set","Features:","Match clips with notes automatically using filename, clip name, timecode, or scene take and angle.","Rename the clips using the scene and take","Set the parent or subrole for your clips (Final Cut Pro Only)","Shot Notes X combines the notes data with clips from a FCPXML, into a Final Cut Event or Premiere bin with complete metadata and named clips. In your NLE the notes are searchable via the search tools, and viewable in the list view enabling editors to quickly find the shot using their notes.","Shot Notes X has been a big hit with editors, script supervisors, and post-production supervisors.","Shot Notes X, automatically combines notes from a CSV, ScriptE XML, or Movie Slate XML file with clips from Final Cut Pro X and Adobe Premiere.","Shot Notes X, reduces the amount of work required to start editing, saving time and money. In only a few seconds Shot Notes X can have all notes from a spreadsheet applied to the footage, making it ready for editing.","Supports Synchronized Clips and Multicam clips.","Use ScriptE, Movie Slate, or your favorite spreadsheet application to take notes on location or while watching dailies, then use Shot Notes X to bring those notes into Final Cut Pro or Adobe Premiere using the template provided by Shot Notes X. CSV files can also be exported from various on set script supervision applications, or FileMaker Pro."]},{"l":"Shutter Encoder","p":["Shutter Encoder is one of the best video converter software, it handles images and audio too!","It has been designed by video editors in order to be as accessible and efficient as possible.","Shutter Encoder makes use of FFmpeg to handle its encoding, allowing support for almost every codec you’ve ever heard of, and many more you haven’t.","Don’t just take our word for it though, Avid themselves recommend Shutter Encoder as part of your Media Composer and ProTools ingesting workflow!"]},{"l":"Smart Video Splitter","p":["Smart Video Splitter is the perfect app for those who create professional or semi-professional stories with videos on social networks like Instagram, Facebook, Whatsapp and Snapchat."]},{"l":"srt2subtitles","p":["Imagine you are using Final Cut Pro to edit videos and want to add built-in subtitles. You may utilize AI audio transcription tools like Whisper, MacWhisper, Aiko or any online audio transcription platform, you will get SRT files. SRT files in Final Cut Pro cannot be edited for subtitle text style and timing, unlike software such as Premiere Pro, DaVinci Resolve, and Sony Vegas. Final Cut Pro does not provide the capability to edit the style of subtitles within the software. Manually changing the text content and timing of SRT files can be time-consuming. To efficiently batch process AI subtitles and edit their style, such as font, size, position, borders, shadows, etc., the best approach is to make the changes within Final Cut Pro itself. srt2subtitles provides the quickest way to convert SRT files into fcpxml files that can be edited for subtitle style within Final Cut Pro. Simply run the command line and open the fcpxml file in Final Cut Pro."]},{"l":"Subtitles Extractor","p":["Subtitles Extractor allows you to extract subtitles from movies where they are “printed” (i.e. not on a separate track) and export them to SRT format."]},{"l":"Subvert","p":["Subvert expands on Final Cut Pro X's captioning capabilities. It makes editing with captioned footage easy and powerful.","Subvert is a great app to deal with subtitles in FCP. You provide a SRT file and it will create a FCPXML with Captions or Titles. You can precise the Role Name and choose the Text Settings.","When the FCPXML is converted, it can automatically open the FCPXML in FCP, which is very convenient. It will let you choose which library to import the XML into and then it will create a “Subtitles” event.","Something very nice about those Titles: the name of the Titles is matching the content of the Title. So that you can search directly into the index the content of your Titles. And if you want to change what’s written inside the Titles, its name will change accordingly.","It’s also possible to go the other way around. Export a FCPXML of your project with your Titles, and then you’ll be able to convert it into SRT file.","The app is available in the Mac App Store for 19.90USD.","SRT to FCPXML Titles with Role Name:","Automatically open into FCP:","Search Titles into the index by content:","FCPXML to SRT:","I use Subvert. Love it. I remember I prefered Subvert, because when you change the text of the subtitle, it also change the name of the title. So it’s very convenient for searching in the index.","Matthieu Laclau"]},{"l":"Sync-N-Link X","p":["“AutoSync” for Final Cut Pro X: batch sync dual-system sound using jam-synced SMPTE/EBU timecode.","Eliminate the time-consuming chore of manually synchronizing dailies (a.k.a. rushes) by batch processing an Event of unsynchronized clips exported from Final Cut Pro X.","Sync-N-Link X looks for audio whose free-run Timecode matches a video clip’s Timecode (although a matching video and audio clip don’t have to start at the same time, have the same duration, or even have the same frame rate).","Sync-N-Link X uses content created dates to find video and audio that were recorded on the same day for syncing.","Choose whether the synchronized clips are named after the video or audio clips - the original video and audio clip names are available inside the synchronized clips.","Synchronized clips can contain more than one audio clip (for cases where audio recording was stop/started during a take).","Sync-N-Link X adds a \"Synced\" keyword for the video range (essentially trimming the clip to the video duration). Any unused video and audio clips are marked with a \"Not Synced\" keyword.","Sync-N-Link X assigns audio Subroles and component names to second-system audio tracks and camera audio, giving the user dynamic control over audio playback during editorial.","Case study: Electric Entertainment's workflow for \"Leverage\" here."]},{"l":"T"},{"l":"Transcriber","p":["Automatic transcription and subtitles generator.","Transcriber is the ultimate app to transcribe and generate subtitles in sync with the video."]},{"l":"Transfer Toolbox","p":["Transfer Toolbox allows you to convert Final Cut Pro (for Mac) libraries into Final Cut Pro (for iPad) projects!","You can now easily get from your Desktop to your iPad! Simply drag your existing Final Cut Pro library into the application's drop zone.","You should ensure your library only has a single event, and all project timecode starts at 00:00:00:00.","All Motion Content and Media should be contained within the Library.","If you have custom fonts on the Mac Final Cut Pro library, you should manually install them on the iPad before importing the project.","Transfer Toolbox requires Final Cut Pro 10.6.6 or later."]},{"l":"U"},{"i":"ultimedia-converter-2","l":"Ulti.Media Converter 2","p":["The Swiss army knife for transcoding, workflow and multimedia file management."]},{"l":"X"},{"l":"X2Pro","p":["Move your Final Cut Pro X projects to the audio suite simply and quickly. X2Pro Audio Convert takes your FCP X XML and creates an AAF with embedded or referenced audio media which Avid Pro Tools can open as a session, delivering seamless integration between the two applications..","X2Pro Audio Convert is a cutting edge conversion application for delivering FCP X projects for audio finishing, it is easy to use directly from within FCP X.","Taking advantage of the innovative Roles features in FCP X, X2Pro allows you to choose how these are converted to tracks; their order, packing and whether they are included, allowing sound designers to start working immediately.","Media can be embedded in the AAF (and trimmed with handles to minimise file size) to create a single, simple to transfer, file. Alternatively the AAF can reference external media which is ideal when FCP X and ProTools have access to the same shared storage.","Those who do not need the advanced functions of referenced, trimmed media, or close control of the conversion of Roles, can look at the cost effective X2ProLE.","X2Pro faithfully translates your audio timeline along with L-cuts, J-cuts, transitions, levels, automatic gain and fade handles, as well as the incredibly powerful FCP X compound clips. Transitions are converted into linear cross fades. Audio media can be any QuickTime supported audio, non-PCM audio is converted to PCM at either 16 or 24 bit.","R3D media is supported.","Multicam Clips are effectively translated taking across the audio of the selected angle.","X2Pro gives a clear warning when it comes across elements of a sequence which it cannot translate such as time maps and effects.","We recommend rendering an off-line or proxy version of the flattened video and exporting that if a reference is needed within Pro Tools. Only audio media is translated by X2Pro.","Requirements","FCP X, 10.0.4 or later and XML from 1.1","X2Pro is tested on the latest release OS and the previous release","Pro Tools v7.0 or later for AAF import (not LE versions, v7 and v8 require Digitranslator for AAF import)","X2Pro uses Marquis Media Highway technology to integrate FCP X into the established professional audio workflow. Marquis Media Highway is the core technology employed by Marquis’ media integration products – it improves how broadcast production systems interoperate by delivering a seamless and cost-effective integration between leading broadcast content applications. Marquis Broadcast specializes in content workflows and media integration software and has been delivering solutions to broadcast since 1998."]},{"l":"Ximport AE","p":["Ximport AE is a powerful After Effects plug-in that imports XML files from Final Cut Pro. This plug-in offers the most complete workflow for translating a timeline from Final Cut Pro to Adobe After Effects.","Watch the QuickStart video at the right to get an introduction to Ximport AE. It is a very powerful plug-in, and the best way to get to know it is to use it."]},{"l":"Xsend Motion","p":["The missing piece between Final Cut Pro and Motion 5: Xsend Motion from Automatic Duck.","Xsend Motion converts your FCP timeline into a Motion project in just seconds, translating Transforms like Position and Scale, Opacity and blending modes, titles and many third party effects as well.","A new Motion project is created referencing the same media files used by Final Cut Pro, no new media is created. You can easily adjust your footage in Motion, everything is live and not baked-in.","Uploaded by Automatic Duck on 2017-12-05. You can send an entire project from FCP to Motion, or you can export the contents of a compound clip to XML and translate that into Motion. Your Motion work can be exported back to FCP as a QuickTime movie or published as a Generator. Any time you have a clip or set of clips in FCPX that want to use in Motion, Xsend Motion is the tool you need to send those projects across.","Xsend Motion integrates with the Final Cut Pro Share menu as well as with XML exports from FCP 10.2.1 and later, including Final Cut Pro X 10.6."]},{"l":"XtoCC","p":["The all-in-one tool to move a Final Cut Pro X Event or Project to Premiere Pro, After Effects, Audition, FCP 7 and beyond!","This app translates Final Cut Pro X Library XML (fcpxml) and converts it for import into Adobe's Creative Cloud apps, Premiere Pro CS6, Final Cut Pro 6 or 7, or other applications.","Your Final Cut Pro XML is ready for:","Premiere Pro, and then to:","AAF to Avid Media Composer and Pro Tools","OMF output for ProTools, etc.","EDL","After Effects","Audition","Final Cut Pro 7","other Final Cut Pro 7 XML workflow tools","Check the XtoCC Support document for instructions, including listings of what translates and what doesn't.","Requirements:","Final Cut Pro version 10.0.1 or later","An application that imports Final Cut Pro XML (such as Final Cut Pro 7 or 6, Premiere Pro CC, After Effects CC, Audition CC, DaVinci Resolve, Color, etc.)"]},{"l":"Discuss this page"}],[{"l":"Workflow Extensions","p":["This page contains a collection of the latest Final Cut Pro Workflow Extensions.","You can use extensions to access features of third-party apps from within Final Cut Pro. For example, you can access stock footage, media management, and review-and-approve apps without ever leaving Final Cut Pro.","Want to contribute or add your Workflow Extension? Learn more here!"]},{"l":"A"},{"i":"alteonio-for-final-cut-pro","l":"Alteon.io for Final Cut Pro","p":["Designed for content creators, Alteon lets you upload, transcode, share and collaborate on media from a single, universal space.","Collaborate remotely with secure screener links and automatic proxies","Stop shipping drives between collaborators and clients","Scale your cloud storage, so you spend less on archived assets","Consolidate single-purpose apps into a streamlined workflow","This app contains Alteon’s workflow extension for Final Cut Pro, helping creatives complete an end-to-end workflow—downloading files, syncing with remote collaborators and uploading media—all within Apple’s flagship NLE.","Users can launch the workflow extension within Final Cut Pro to view media files housed in Alteon’s secure cloud storage platform. From there, they can download media files directly from Alteon into Final Cut Pro to start editing immediately. Users can upload entire libraries of media or individual clips by dragging and dropping them right from Final Cut Pro into the Alteon panel."]},{"l":"B"},{"l":"BRAW Toolbox","p":["BRAW Toolbox allows you to import Blackmagic RAW files directly into Final Cut Pro without transcoding.","No more waiting. No more transcoding. No more massive ProRes files.","Save hours of time, and terabytes of storage!","The BRAW Toolbox Workflow Extension allows you to prepare all of your footage prior to import. You can easily and quickly change all the RAW parameters, and copy and paste settings from different BRAW clips. You can even save and restore Presets that contain specific parameters, saving time for example, if you always use the same Gamut & Gamma.","Once imported into Final Cut Pro, you can still modify the RAW parameters at any time.","You can even keyframe the ISO, Exposure, Color Temp, Tint and Custom Gamma Controls!","BRAW Toolbox comes with a Metadata View that allows you to view every piece of BRAW Metadata directly within the Final Cut Pro Inspector.","There are automatic Decode Quality options for both HD and UltraHD projects, and you can also work at a low Decode Quality, then apply a \"Global Setting\" to force Full Quality prior to exporting - meaning you never have to worry about creating proxies for performance. BRAW Toolbox gives you complete freedom and flexibility.","You can also use the Workflow Extension to send your project/timeline to DaVinci Resolve for grading - all using BRAW files directly from the camera!","BRAW Toolbox requires Final Cut Pro 10.6.5 or later."]},{"l":"User Reviews","p":["This developer did what Apple Couldn't/Wouldn't This app is a great solution to a common problem Final Cut Pro users have: getting Blackmagic Raw footage into the app. At first it might seem like a bizarre workaround, but you only have to go through the process of setting it up once, and then you can easily import your Blackmagic footage right into FCP. Honestly, from that point on it works so incredibly well that I really struggle to understand why Apple has made it so difficult. Except it's not difficult, not anymore. This is great software: a small developer solving a problem that a big one (Apple) can't. That's innovation, my friends.","moosefuel – Feb 3, 2023 (Apple App Store Review)","The tool we have dreamed of is here. For lovers of Final Cut Pro who have struggled with the endless BRAW proxy XML loop, this is a dream come true. BRAW natively inside Final Cut. Controls for RAW adjustments at your fingertips. Is it the full Resolve interface? No, doesnt need to be, Between BRAW ToolBox and FCP, most edits can be done natively without ever having the leave the Final Cut NLE. If you shoot any BRAW camera, this is the best of both worlds if you live in the FCP ecosystem. Thank you latenightfilms team for this, its a huge step forward and a wonderful plugin.","Chasing Photography – May 16, 2023 (Apple App Store Review)","Perfect! Just perfect.","Viaswage – Feb 18, 2023 (Apple App Store Review)","Great! Love this! thank you!","NarimanGafurov – Feb 6, 2023 (Apple App Store Review)","UMMMMMM THANK YOU, YOU'RE A GENIUS I've needed this for years!!!!!! You are a genius and this is incredible!!! Thank you so much!!! No clue how BM never made this.","gordonfromvan – Feb 4, 2023 (Apple App Store Review)","I've been waiting for this! I can finally use my two Blackmagic cameras and shoot in BRAW. As a Final Cut Pro editor, I'm really excited. The app is working great! I really appreciate the team at LateNite for all the hard work it took to get this up and running. Well worth the money to be able to handle BRAW seamlessly. Scott_Hartman – Feb 2, 2023 (Apple App Store Review)","Boom! Such an amazing plugin and works fantastic! Grant Digital Sky – Feb 2, 2023 (Apple App Store Review)","Absolutely Amazing. Solves a massive problem and works beautifully! Jmurphy8503 – Jan 31, 2023 (Apple App Store Review)","The impossible made possible. Amazing to work natively with BRAW in my favourite editor. Thank you! MadMitch1993 – Jan 30, 2023 (Apple App Store Review)"]},{"l":"D"},{"l":"DAWBridge","p":["DAWBridge is an extension for Final Cut Pro that syncs Logic Pro, Pro Tools and other DAWs to Final Cut Pro. Using the DAW Bridge, cleaning up audio, composing music and mixing become virtually effortless and you never need to leave your favorite video editing software. When you sync your DAW with Final Cut Pro, audio will only play from your DAW so if you'd like your original FCP timeline audio to play as well, export your audio to your DAW using the share menu.","There are a few simple steps to linking Final Cut Pro with your DAW:","First, open the DAW Bridge extension in Final Cut Pro","Make sure your timecode settings are the same in both applications:","Project start timecode must match. For example, 01:00:00:00.","Frame rates must match for the timecode to work correctly. Hint: you can drag your Final Cut Pro project into the DAW Bridge window to pull its frame rate.","Match sample rates in your DAW and Final Cut Pro","In your DAW, navigate to the MTC settings and select 'DAW Bridge In'.","In Logic Pro you can find this in the transport or in Synchronization preferences.","In Pro Tools it is under Peripherals → Synchronization","Once your timelines are in sync, your DAW's playhead can control Final Cut Pro's playhead. The DAW Bridge combines the power of your audio and video editors. Imagine what you can do."]},{"l":"F"},{"l":"fontAudition-X","p":["A new way to look at fonts! See your text displayed in all your font styles size-by-side. Choose a favorite and then drag & drop your text directly onto the FCP timeline.","Editors have hundreds, even thousands of fonts on their computers. FontAudition makes viewing and managing them easier. And it runs right inside Final Cut Pro.","Enter your text into fontAudition and instantly see it displayed in every font available on your computer. No other font utility gives you such a complete view of your font options or makes it so easy to pick just the right one for your text.","See the Big Picture of your text displayed in all your computer's font styles in a unique side-by-side display","Search for installed fonts by name, family, or description, such as bold, italic, and condensed","Quickly sort your favorite fonts into an unlimited number of collections to help keep them organized and ready to use","Add or delete fonts to your collections at any time to keep them up-to-date","Easy access to every font’s extended characters such as accents and flourishes","Simply double-click any font to display it’s extended character set and then copy and paste them into your title","FontAudition is written as a Final Cut Pro Workflow Extension which allows it to run inside of Final Cut Pro while you are editing","Drag & drop your text from fontAudtion directly onto the Final Cut Pro timeline or copy & paste it into the FCP viewer","Runs natively on both Intel and Apple Silicon Macs"]},{"i":"frameio","l":"Frame.io","p":["Introducing the Frame.io workflow extension and Mac menu bar app. A whole new way to create video with your team in Final Cut Pro X, and a faster way to upload, share, and transfer media projects anywhere in the world.","Frame.io is the world’s most popular video review and collaboration platform, used by over 550,000 filmmakers and media pros.","Frame.io in Final Cut Pro X:","Easily share your timeline or individual clips with your team.","Your edits stay organized with automatic version stacking.","See the instant your client is reviewing your work—to take action while feedback is still fresh.","Get real-time, frame-accurate comments, right in your edit.","Your comment markers stay with clips―no matter where you move them.","Pull media and comments from Frame.io right into your timeline.","Menu bar app:","Watch folders save you valuable time and allow you to render and upload overnight.","Local folder structure is preserved when uploading.","Review Page links can be quickly copied from the Recent Uploads tab.","Render directly from any of your preferred editing tools."]},{"l":"G"},{"l":"Gyroflow Toolbox","p":["Gyroflow Toolbox allows you to import Gyroflow Projects into Final Cut Pro.","Gyroflow is a free and open source third-party application that can stabilise your video by using motion data from a gyroscope and optionally an accelerometer. Modern cameras record that data internally (GoPro, Sony, Insta360 etc), and Gyroflow stabilizes the captured footage precisely by using them. It can also use gyro data from an external source (eg. from Betaflight blackbox).","Gyroflow Toolbox allows you to take the stabilised data from Gyroflow and use it within Final Cut Pro as an effect, so you don't have to export a ProRes from Gyroflow!","You can even use this in conjunction with BRAW Toolbox (also on the App Store), to stabilise Blackmagic RAW files!","None of this would be possible without the incredible Gyroflow project and the incredibly help and support from their main developer, AdrianEddy."]},{"i":"user-reviews-1","l":"User Reviews","p":["Nice product! Thank you Chris!","NarimanGafurov – Feb 6, 2023 (Apple App Store Review)","The Best Way to Stabilize Pro Res RAW I record both internally and externally with an Atomos Ninja, on my FX3 with the end goal of delivering HDR. I record internal to capture Gyroscopic data that my FX3 records. This allows me to Use GryoFlow, and Thus GryoFlow Toolbox to stabilize Pro Res RAW footage. This tool has made it possible, and works awesomely. I highly recommend this tool it will help immensely.","Tydar94 – Jan 27, 2023 (Apple App Store Review)"]},{"l":"M"},{"l":"Marker Toolbox","p":["Marker Toolbox allows you to import Vimeo CSV, Wipster CSV, Dropbox Replay JSON & Email Comments into Apple's Final Cut Pro via a handy Workflow Extension.","You can also OPTIONALLY use OpenAI's ChatGPT to help translate email comments into markers using your own personal OpenAI API key!","If you use Vimeo Review pages or Wipster to share video edits with clients to consolidate feedback, you can simply export a CSV file from Vimeo or Wipster, and drag it into the Workflow Extension to convert the comments into Markers within Final Cut Pro. It's fast and easy!","Dropbox Replay works exactly the same way, except Marker Toolbox will also import any drawn annotations!","Similar to Frame.io's Workflow Extension, the markers come in as a Compound Clip, that you can then \"break apart\" so that the markers are attached to the clips in your Primary Storyline, meaning that your clients comments stay in the correct position as you make revisions to the edit. For each marker, there's also a title, so that you can easily visually see the comments right in your Viewer - this is great if you need to export an edit with all your client feedback \"burnt\" into the export.","Replies and the date the comment was added can be included in the Marker names. It also takes \"resolved\" comments in Vimeo, Wipster & Dropbox Replay, and marks them as \"completed\" in Final Cut Pro!","You can also easily copy and paste client feedback from emails into the Workflow Extension. In most cases, you can use the \"Process Comments Locally\" button to use a custom-built algorithm that converts each line of text into a comment. However, you can also the power of OpenAI's ChatGPT to help translate more complicated feedback into markers. You can customise the ChatGPT prompt, and also pick the ChatGPT Model. You supply your own OpenAI API key, giving you full control.","This can be a MASSIVE time saver, as you can simply copy and paste a long list of email comments, and ChatGPT will do the work to convert them into easy-to-read Final Cut Pro markers, that you can then easily navigate via the Timeline Index.","Marker Toolbox requires Final Cut Pro 10.6.5 or later."]},{"i":"user-reviews-2","l":"User Reviews","p":["I’ve been absolutely flatout while working in Thailand. Wipsters has been been great, helping me manage projects and reviewers across four countries. Stoked Marker Toolbox can send Wipster notes straight into #fcpx","Alister Robbie via Twitter","Excellent addition to FCP This is a great tool. I have my clients make notes on Vimeo, and Marker Toolbox lets me download a .csv of those comments and create markers on the FCP project/timeline at the proper locations, with notes visible and that will follow the clips as I move them. Once downloaded and installed it's easy. Downloading the .csv and running it through Marker Toolbox and adding the Markers to the project/timeline takes less than a minute, then you're ready to go. Really great find!","Robert heinlein's son – May 31, 2023 (Apple App Store Review)","Amazing simple I wanted an app like this since I started editing. Now for the first time I can process the comments I get via an e-mail on an edit from the start and not, as I usualy do, begin at the end of the edit and work backwards.","Blazy – Apr 6, 2023 (Apple App Store Review)"]},{"l":"Media Sync Tool","p":["Media Sync Tool is a revolutionary sync tool for Final Cut Pro.","By utilizing jam-synced SMPTE timecode and metadata from the source media, it automates the sync process to the point where almost no human involvement is required, while automatically dealing with overlapped timecode.","Now all Final Cut Pro video editors can fully eliminate the time-consuming routine of manually syncing dailies by using Media Sync Tool in a bundle with Final Cut Pro."]},{"l":"R"},{"i":"reading-is-fundamental","l":"Reading Is Fundamental!","p":["Comma-separated values (.csv)","Excel (.xls and .xlsx)","Keynote","Most document types allow you to zoom in and out by using your trackpad’s “pinch with two fingers” — if you’ve enabled this in System Preferences > Trackpad. (Not supported by Rich Text Format or Plain Text files.)","Multiple documents can be opened at the same time, and you can switch between them (using navigation arrow buttons or the popup menu).","Numbers","Pages","PDF","Plain text (.txt)","PowerPoint (.ppt and .pptx)","Reading is Fundamental! is a versatile, multi-format document reader in a Workflow Extension so you can read documents without leaving Final Cut Pro.","Reading is Fundamental! reads and displays:","Rich Text Format (.rtf and .rtfd)","The previously opened documents will be restored on relaunch.","The workflow extension window can be repositioned, resized, and saved as part of a Final Cut Pro workspace layout.","The workflow extension window floats above Final Cut Pro so you can view your document and project timeline at the same time.","Word (.doc and .docx)"]},{"l":"Recall Toolbox","p":["Recall Toolbox is a Final Cut Pro Workflow Extension that acts as a Shared Pasteboard.","Anything that you can copy and paste in Final Cut Pro, Recall Toolbox can store."]},{"l":"Build for Final Cut Pro","p":["There are third party tools like the amazing Copy 'Em ​(for Mac), but they're not quite as visual as Recall Toolbox, and they're not built from the ground up for Final Cut Pro users.","Recall Toolbox works as a Final Cut Pro Workflow Extension, so it's window position gets saved with your custom Workspaces.","Whilst CommandPost has had a Shared Pasteboard & Pasteboard Buffers for years, it's really optimised for Control Surfaces. You can access the Shared Pasteboard from the CommandPost menubar, and it is super powerful, but it's not as visual - you just get text, not a fully customisable thumbnail.","Recall Toolbox feels like a natural extension to Final Cut Pro, with a similar look and feel to Final Cut Pro's Effects Browser."]},{"l":"iCloud Sync","p":["Recall Toolbox automatically syncs to ALL your devices on the same iCloud account automagically!"]},{"l":"iCloud Sharing","p":["You can share folders with other iCloud users, and control permissions. For example, you could have a \"read only\" folder that contains client logos for a current job!"]},{"l":"S"},{"l":"Shutterstock for Final Cut Pro","p":["The official workflow extension for Final Cut Pro puts Shutterstock’s entire collection of creative assets at your fingertips. Find your perfect royalty-free video clips, then drag them directly into your Final Cut Pro project. Discover a cinematic soundtrack and millions of beautiful images. You can easily preview content right in the extension and see how it works in your project, then license the assets you want without ever leaving Final Cut Pro.","Download now to start creating incredible content.","Features:","Find and license Shutterstock video clips, music, and images from directly within Final Cut Pro.","Easily import stock assets into your Final Cut Pro library.","Get exclusive access to a collection of free videos, music tracks, and images.","Preview watermarked assets in your project before committing to purchase.","Explore curated themed collections like nature, cities, and more.","Save and store all your favorite stock assets in one place."]},{"l":"Simon Says Transcription","p":["collaborate with teams and clients","Drag in your audio, video, and FCPX event","Export back to your video editing application (like FCPX, Premiere, Avid) or to Word.","export to Word, subtitles, Adobe, Avid, FCPX, DaVinci Resolve","frame-accurate transcription and translation","import of audio / video files","import of FCPX events with projects and clips and export captions, titles, and ranges","In minutes, for pennies, in 100 languages.","It is easy:","It supports:","New users get free credit to trial.","Not anymore.","Pay (new users get 15 mins for free) & Transcribe","Simon Says is the accurate AI tool: swiftly transcribe, subtitle, caption, and translate your audio and video.","subtitle translations for international versioning","This application operates standalone as a macOS app and as an extension built for Final Cut Pro X.","Transcription and translation used to be frustrating.","transcription/translation languages: English, Spanish, French, German, Italian, Danish, Dutch, Finnish, Greek, Japanese, Portuguese, Russian, Swedish, and dozens more","world-class transcript editor and visual subtitle editor","Your transcript is ready! Bookmark, annotate, edit, and collaborate with teammates. Even preview subtitle formatting in the visual subtitle editor."]},{"l":"U"},{"l":"Universal Production Music","p":["Discover the best tracks for your project and import them effortlessly into your timeline without leaving Final Cut Pro.","With over half a million tracks available, the Universal Production Music catalogue covers all genres and moods, with an ever-expanding roster of hugely talented Artists and Composers around the globe.","Key Features Include:","Search and filter- Search for keywords, moods, genres, tracks, or use the dropdown menu to refine your search by edit length, version type or instrument","Playlisting- Access Themed Playlists curated by our Music Supervisors to speed up your workflow, or your own playlists that you have created on the website","Stems- Found a track but only interested in the percussion section, bass or vocals? Download stems to break down a track into its instrument sections","Settings- The Extension gives you a great degree of flexibility, allowing you to adjust your volume in the panel and select your desired download format, amongst other features","Cue Sheet Helper- Projects can be exported to Cue Sheet Helper which formats track data correctly for music reporting"]},{"l":"Discuss this page"}],[{"l":"Podcasts","p":["Final Cut Pro Radio has the best Final Cut Pro Professionals from around the Globe.","Richard Taylor also does a FINAL CUT TV & Coffee live streaming series on YouTube.","Want to contribute or add your podcast? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Social Media","p":["This page is dedicated to Final Cut Pro communities on Social Media."]},{"l":"Facebook","p":["The Final Cut Pro Users Facebook Group has 62.8K members.","The Final Cut Pro for iPad Facebook Group has 191 members."]},{"i":"postchatio","l":"postchat.io","p":["A place for all postproduction professionals, enthusiasts and anyone who wants to be part of Mastodon.","Run by the amazing Felipe Baez."]},{"l":"Creators","p":["Brad West- Video Editing Tips","Dylan Bates, The Final Cut Bro- Motion & Final Cut Tutorials, Effect Developer","Dylan John- Social Media Video","Emilio Takas- Tech & Editing","FxFactory- Products & Tips","Jared Ewing- Everything Training","Jenn Jager- Video Production, Motion & FCP Tutorials","Joseph Slinker- Apps & Tools that Compliment","Matthew O'Brien- Tips & Tricks, Lifestreams, Editing Philosophy","Rafael Ludwig- Tech Reviews, Tutorials, Thoughtpieces","Ryan Nangle- Tutorials & Video Effects","Serge M- Editing Videos","Simon Ubsdell- Motion graphics and visual effects tutorials and demos","Tyler Stalman- Creative Tools for Video Production","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Control Surfaces","p":["This page is dedicated to Control Surfaces in Final Cut Pro.","We will be adding reviews and information here in the future.","Want to contribute or add your hardware? Learn more here!"]},{"l":"CommandPost","p":["AudioSwift","Chris is also currently actively working on support for:","CommandPost currently supports:","DaVinci Resolve Editor Keyboard","DaVinci Resolve Speed Editor","duckyPad","In the future, he plans to add support for:","It also supports:","Logitech Craft Keyboard","Loupedeck (Original)","Loupedeck CT","Loupedeck Live- Direct & via Loupedeck Plugin","Loupedeck Live-S- Direct & via Loupedeck Plugin","Loupedeck+","MacBook Pro Touch Bar Support (including a Virtual Touch Bar)","MIDI Devices (including TouchOSC, etc.)","Monogram/Palette","Nob","Razer Nostromo","Razer Orbweaver","Razer Orbweaver Chroma","Razer Stream Controller- Direct & via Loupedeck Plugin","Razer Tartarus","Razer Tartarus Chroma","Razer Tartarus Pro","Razer Tartarus V2","Stream Deck","Stream Deck Mini","Stream Deck Pedal","Stream Deck Plus","Stream Deck XL","Tangent Panels(including Tangent's iPad & Android App)","TourBox (Original)","TourBox Elite","TourBox NEO","Work Louder Creator Board","Work Louder Creator Micro","Xbox & PlayStation Wireless Game Controllers","Xencelabs Quick Keys"]},{"l":"Discuss this page"}],[{"l":"Monitors","p":["This page is dedicated to monitors for Mac's.","We will be adding reviews and information here in the future."]},{"l":"LG UltraFine 5K Display","p":["This is what we use as our main GUI monitor for all machines at LateNite and they work great.","Want to contribute or add your hardware? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Storage","p":["This page is dedicated to storage for Mac's.","We will be adding reviews and information here in the future."]},{"l":"iodyne Pro Data","p":["The incredible Pro Data builds on Thunderbolt’s breathtaking speed and daisy-chain expandability, and takes its amazing capabilities to new heights. With a staggering eight full-speed ports, there’s no need to sacrifice peripherals: just connect your displays and other downstream devices to Pro Data, and boost your productivity without losing a single port.","Thunderbolt connectivity ensures Pro Data works with every computer and every app you have today, or might buy in the future. Pro Data is the fastest Thunderbolt storage for M1 Macs, and the fastest Thunderbolt RAID array. Use it to redesign your next setup, or supercharge your existing one."]},{"l":"OWC LumaForge","p":["OWC Jellyfish workflow servers are a family of highly-specialized network attached storage devices that are specifically designed for editors and post-production teams looking to streamline workflow and maximize output.","It's been called, \"A giant hard drive your whole team can use.\" However you describe it, the OWC Jellyfish has become the gold standard for seamless collaboration among creatives."]},{"l":"OWC ThunderBay Flex 8","p":["Whether you call it a workflow workhorse, a productivity platform, or a configurable command center, one description of the ThunderBay Flex 8 says it best. It’s a groundbreaking workflow solution for digital imaging, VFX, video production, and video editing professionals from the world’s leading Thunderbolt accessory manufacturer.","ThunderBay Flex 8 offers eight drive bays that support a mix of SATA/SAS and U.2/M.2 NVMe drives for up to 172TB of storage capacity. Next, there’s a plethora of ports including two Thunderbolt 3, one USB-C, and two USB-A for device docking and charging.","See your work in greater detail by adding up to an 8K display via a built-in DisplayPort 1.4 connection. Ingest hi-res images and video via front-side SD 4.0 and CFexpress card readers. And when you want to expand your desktop capabilities, there’s a PCIe slot waiting for your specific project needs.","ThunderBay Flex 8 is the one Thunderbolt 3 desktop device that rules them all. With an irresistible economy of scale, this consolidated solution is ideal for anyone waiting for the right moment to invest in Thunderbolt technology."]},{"l":"PROMISE Pegasus3 Series","p":["Pegasus3 Series with Thunderbolt™ 3 technology delivers incredible speed and performance for HD and 4K video editing, creative workflow with ease of use and performance optimization.","Want to contribute or add your hardware? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Motion Variables","p":["-","@#$sourceObject_metadata_alphaHandling","@#$sourceObject_metadata_angle","@#$sourceObject_metadata_audioChannelCount","@#$sourceObject_metadata_audioSampleRate","@#$sourceObject_metadata_contentCreated","@#$sourceObject_metadata_displayFormat","@#$sourceObject_metadata_displayName","@#$sourceObject_metadata_effects","@#$sourceObject_metadata_frameDuration","@#$sourceObject_metadata_frameSize","@#$sourceObject_metadata_metadataAudioRoles","@#$sourceObject_metadata_metadataDeinterlaceType","@#$sourceObject_metadata_metadataFieldDominanceOverride","@#$sourceObject_metadata_metadataImportToApp","@#$sourceObject_metadata_metadataLocation","@#$sourceObject_metadata_metadataMediaDuration","@#$sourceObject_metadata_metadataMediaEnd","@#$sourceObject_metadata_metadataMediaStart","@#$sourceObject_metadata_metadataRoles","@#$sourceObject_metaData_metadataRotationAngle","@#$sourceObject_metadata_metadataSelectionDuration","@#$sourceObject_metadata_metadataSelectionEnd","@#$sourceObject_metadata_metadataSelectionStart","@#$sourceObject_metadata_metadataVideoRoles","@#$sourceObject_metadata_notes","@#$sourceObject_metadata_reel","@#$sourceObject_metadata_scene","@#$sourceObject_metadata_shot","@#$sourceObject_metadata_timeRange","@#$sourceObject_objectName","@#$sourceObject_projectOrSourceName","@#$sourceObject_sampleDuration","@#$sourceObject_sequenceName","@#$sourceObject_sourceName","@#$sourceObject_timecodeFrameDuration","Alpha Handling","Angle","Audio Channel Count","Audio Roles Metadata","Audio Sample Rate","Content Created","De-interlace Type","Description","Display Format","Display Name","Effects","Field Dominance Override","Frame Duration","Frame Size","Import to App","Location","Media Duration","Media End","Media Start","Metadata Roles","Notes","Object Name","On this page is a list of tokens you can use in Apple Motion to display metadata in Motion Templates, that will also appear in Final Cut Pro.","Project or Source Name","Rotation Angle","Sample Duration","Scene","Selection Duration","Selection End","Selection Start","Sequence Name","Shot","Source Name","Source Reel Name","Special thanks to F•X Mahoney from FCPxTemplates.com for his help correcting this page!","The below table contains all the tokens in the order they're shown in the above screenshot:","The output of the effect looks like this in Final Cut Pro 10.6.6 (created in Motion 5.6.4):","This was originally discovered on this blog.","Time Range","Timecode Frame Duration","Token","Video Roles","Want to update any of the above? Learn more here!","You can also download an example Motion Template effect here."]},{"l":"Discuss this page"}],[{"l":"Application Bundle","p":["This document is a random collection of notes, thoughts and comments as we start to research the \"inside workings\" of Apple's Final Cut Pro package.","It's interesting to note that most of the Frameworks contained within Final Cut Pro X can also be found in Apple Motion, iMovie on iOS, iMovie on macOS and Clips on iOS.","The content on this page is quite out-dated, and doesn't take into account Final Cut Pro 10.6.6 or Final Cut Pro for iPad. It will be updated over the coming months.","Want to contribute? Learn more here!"]},{"i":"what-is-a-framework","l":"What is a Framework?","p":["A framework is a bundle (a structured directory) that contains a dynamic shared library along with associated resources, such as .nib files, image files, and header files. When you develop an application, your project links to one or more frameworks. For example, iPhone application projects link by default to the Foundation, UIKit, and Core Graphics frameworks. Your code accesses the capabilities of a framework through the application programming interface (API), which is published by the framework through its header files. Because the library is dynamically shared, multiple applications can access the framework code and resources simultaneously. The system loads the code and resources of a framework into memory, as needed, and shares the one copy of a resource among all applications."]},{"l":"History Lesson","p":["Phil Pan writes on Alex4D's Facebook Page:","I worked on that team for five years. There wasn't much work done on merging Shake and FCP. Most of the advanced work done by the core Shake team focused on the Helium renderer, which today is core to Pro Apps today. Shake's genius was how it was ultra-efficient as CPU-only code. Management had little interest in Shake and most resources went to Motion and Aperture; projects that Steve could related to when he wasn't completely absorbed by the iPad, the iPhone and the iTunes business ecosystem. The author of this patent, Christophe Souchard, is a French mathematician who had tons of prior experience at Discreet/Autodesk. He joined Apple when it purchased his Senso technology, which was the first Intel-based library to do advanced image scaling and frame-rate conversion using motion vector estimation. While at Apple, Christophe's skills impressed management enough that his position was labelled \"Applied Magic\", and a veteran aerospace software engineer was hired to perform curation and clerical code management for his inventions. He introduced the team to methods using partial differential equations and while exteremely slow to compute, his next-generation prototypes performed jaw-dropping feats 15 years before similar tools would be introduced by Adobe. None of this work ever came out because Apple had a policy not to release compute-intensive software. Randy Ubillos (father of FCP and close to Steve) wouldn't accept any operation that took longer than a second per frame to render. This relegated Christophe to a research position for a while, until Randy got so impressed that he monopolized Christophe to work on advanced concepts for FCPX. Randy had some clever ideas about shot alignment and automatic editing, and this patent is the result of one of their collaborative projects. Today Christophe works at Unity Technologies doing advanced AR work, and he consults on the side when he has the time. He's recently rumored to have authored the rendering engine for ColorSynth, a complex colour grading plugin for FCPX and Premiere.","Helium was done in Santa Monica by the mad frenchmen team at Apple; Arnaud Hervas, Emmanuel Mogenet and Chrisophe Souchard. Arnaud was the co-founder of Nothing Real, the company that produced Shake. The idea was to do automatic tiled rendering using all available compute resources, so CPU cores and GPU(s). It was a lot trickier than people would think, as math functions would be rounded differently on different resources, and this would affect pixel values. The renderer has to evaluate the render graph to intelligently tile the proper regions-of-interest; i.e. it has to know the size of convolution kernels and all parts of a shader to produce tiles that will later merge properly, and it has to do all of this in real-time. Beautiful work. Emmanuel is now an executive at Google Research in Switzerland. Arnaud is growing tomatoes in Culver City, when he's not working on camera alignement software. Apple could have done a lot more in the high end, but in the last days of Steve, the company shifted its focus on the mass market and mobile devices. It was the right thing to do for all the reasons we know today (the Bottom Line being the most evident), but in so doing it hurt engineering effors in high-end imaging across the world; Adobe was going through a bad patch and the Discreet team at Autodesk was in disarray. The high-end was picked up by The Foundry: Its founder, Bruno Nicoletti (a Discreet alumnus) had the clever idea to acquire Nuke from Digital Domain and he had the skills and industry knowledge to turn it into the work-horse that it's become today. Still, Nuke is a geek's tool and there could have been an opportunity for a more artist-oriented solution in the high-end. This would not be one of Apple's pursuits: After a couple of years of soul-searching it became clear in 2007 that the future of Apple would be the iPhone and that all the Pro Apps stuff was no longer interesting. It survived nonetheless and I'd say that today the spirit of high(ish) end imaging is coming back to Apple. But so is the case at Adobe. In the end, the consumer wins and it's an exciting time to be buying graphics solutions."]},{"l":"Plugins","p":["Internally, Final Cut Pro supports and contains a number of different plugin types and formats:"]},{"l":"Compressor","p":["Contains CompressorKit.bundle- which can also be found in Compressor and Motion - it's basically the Compressor engine."]},{"l":"FCP-DAL","p":["Contains ACD.plugin- a CoreMediaIO plugin that enables the \"A/V Output\" feature in Final Cut Pro.","The CoreMediaIO Device Abstraction Layer (DAL) is analogous to CoreAudio’s Hardware Abstraction Layer (HAL). Just as the HAL deals with audio streams from audio hardware, the DAL handles video (and muxed) streams from video devices.","You can download sample DAL code here."]},{"l":"FxPlug","p":["The FxPlug SDK is a compact yet powerful image processing plug-in architecture that lets you create new effects for Final Cut Pro and Motion.","This folder contains two plugins:","FiltersLegacyPath.bundle- I believe this contains older Filters (such as the Primatte keyer) still used by Motion & Final Cut Pro.","PAECIAdaptor.fxplug- I have no idea what a PAECI is, or what this FxPlug does."]},{"i":"internalfiltersxpcpluginkit","l":"InternalFiltersXPC.pluginkit","p":["Internal filters used by Final Cut Pro & Motion."]},{"l":"MediaProviders","p":["MotionEffect.fxp- Contains Motion Particle Images, Materials and Text Styles."]},{"l":"RADPlugins","p":["Plugins for 3rd Party codecs:","Archive.RADPlug","AVCHD.RADPlug","MPEG2.RADPlug","MPEG4.RADPlug","P2.RADPlug","P2AVF.RADPlug","XDCAM.RADPlug","XDCAMFormat.RADPlug"]},{"l":"Frameworks"},{"l":"Bloodhound","p":["I'm not exactly sure what this is but I'm ASSUMING it has something to do with the more complex side of Apple Motion (possibly rendering?) - due to the following string found in the executable:","PROGRAM:Bloodhound PROJECT:Motion-29551.8.52","I don't think this is much help to CommandPost."]},{"l":"CoreMedia","p":["Represent time-based audio-visual assets with essential data types."]},{"l":"CoreMediaIO","p":["The CoreMediaIO Device Abstraction Layer (DAL) is analogous to CoreAudio’s Hardware Abstraction Layer (HAL). Just as the HAL deals with audio streams from audio hardware, the DAL handles video (and muxed) streams from video devices."]},{"l":"Flexo","p":["This seems to be one of the most important frameworks for iMovie & Final Cut Pro.","It contains:","All the default .audio.effectBundle and .effectBundle files.","The FCPX Document Type Definition's (version 1.0 to 1.6)","Compressor settings for FCPX Bundles, Library XMLs and Project XMLs","72 Fonts used internally by Final Cut Pro & iMovie","3D Luts ( VLog_to_V709_forV35_ver100.3dlut& VLog_to_V2020_forV35_20160707.3dlut)","Files for Trailers, Themes, Titles and Maps","Metadata Definitions ( DPPEditorialServices, DPPMedia& MXFMetadata)","Color Presets (in the .cboard format)","Nib files for a huge range of different Final Cut Pro & iMovie Windows & Modules.","FFLocalizable.strings which contains a huge range of different UI strings for both iMovie and Final Cut Pro","ProMSRendererTool seems to be both a video and audio rendering engine based on the ProMSRendererLocalizable.strings file.","It also contains the following Frameworks:"]},{"l":"DeepSkyLite","p":["This framework seems to be the Core Data interface for Final Cut Pro. It contains the Compiled Core Data Models."]},{"l":"FaceCoreEmbedded","p":["FaceCore is Apple's Face Recognition framework, which was acquired from Polar Rose."]},{"i":"fxplug-1","l":"FxPlug","p":["The FxPlug SDK is a compact yet powerful image processing plug-in architecture that lets you create new effects for Final Cut Pro and Motion."]},{"l":"Helium","p":["Helium looks like it's the video processing engine for Final Cut Pro, and other ProApps (i.e. there's references to Shake in some of the frameworks).","It looks like it's using OpenGL's ARB Vertex Programming language?","It contains two \"Plug-ins\":","HCache","HConverter","It contains several internal Frameworks:"]},{"l":"HeliumFilters","p":["Looks like it contains a bunch of OpenGL Shaders. Assuming it's a bunch of filters for Helium?"]},{"l":"HeliumRender","p":["Looks like it contains a bunch of OpenGL Shaders. Assuming it's the \"render\" engine for Helium?"]},{"l":"HeliumSenso","p":["Senso looks like the Optical Flow engine (possibly the same that originally came from Shake?)."]},{"l":"HeliumSensoCore","p":["Looks like more Optical Flow OpenGL functions."]},{"l":"HeliumSensoCore2","p":["More Optical Flow code - but this looks less like OpenGL functions, and more like some kind of \"interface\""]},{"l":"Lithium","p":["Looks like another Framework for doing processing on the GPU using the OpenGL Shading Language. It has references to Metal as well. I'm ASSUMING that this the main Shader code.","Has two .glsl files inside:","shadow.glsl","ShadowBlurFragShader.glsl"]},{"l":"LunaKit","p":["AppThemeBits.car: contains LOTS of PSDs of UI elements.","AppThemeBitsB.car: looks like a duplicate of AppThemeBits.car, but maybe at higher resolution (Retina version?)","Assets.car: looks like it contains all of the mouse cursors.","Commands.strings: A binary plist of Command Editor strings.","It also contains a Perl script called viddiagnose.pl. I'm ASSUMING this is a script that creates Diagnostic reports for Apple to help debug FCPX?","It contains a bunch of .car(CoreUI Archives) files, which can be extracted using Asset Catalog Tinkerer:","It contains a bunch of other interesting plain-text plist files:","It contains a human-readible plist file called Container.moduleLayout.","LKColor.plist: Colour settings for a huge range of different UI elements (for things like HUDs, etc.)","LKCursor.plist: Hotspot Locations for various mouse cursors.","LKLocalizable.strings: Binary plist which contains a few basic strings for when you trash Final Cut Pro's preferences, and copyright messages.","LunaKit.strings: Binary plist containing a list of colours (probably for the Command Editor).","ModuleKit.strings: Binary plist containing text for Window Layouts.","NOX.car: UI Elements such as Checkboxes, Buttons, Steppers, Text Fields, etc.","NOXConsumer.car: Assuming it's the same as NOX.car, except for iMovie?","NOXHud_MOTION.car: Assuming it's all the UI graphics for the HUD in Motion?","NOXHud.car: UI graphics for Final Cut Pro's HUD?","NOXInspector.car:- UI graphics for Final Cut Pro's Inspector?","NOXRevealed.car: Not sure what these graphics are? Segmented Control?","NOXToken.car: This bundle looks empty?","NOXToolbar.car: Looks like it just has two loading animations?","NOXViewer.car UI graphics for Final Cut Pro's Viewer?","NSProCommandDescriptions.strings: Binary plist containing a single key ( ChangeWindowLayout).","NSProCommandNames.strings: Binary plist containing a single key ( ChangeWindowLayout).","Several .nib files for what looks like the Command Editor?","SRColor.plist: Colour settings for a huge range of different UI elements (for things like Audio Waveforms, etc.)","SRCursor.plist: Hotspot Locations for various mouse cursors.","There are also localised files in LOTS of different languages. In the English.lproj folder for example, it contains:","This looks like the Framework that contains all of the ProApps UI elements - from Windows, to Audio Meters, to Toolbars and the Browser.","TLKColor.plist: Colour settings for various timeline elements.","WideSliderIconAppearance.car: Not sure what these graphics are for?"]},{"l":"MediaToolbox","p":["Contains interfaces for playing video and audio content."]},{"l":"MIO","p":["Not sure what MIO stands for (maybe MediaIO or CoreMediaIO?) but seems to be something to do with the reading and processing of video & audio files. Possibly also has something to do with the controlling of FireWire DV devices?"]},{"l":"Ozone","p":["Ozone looks like it's the Apple Motion render engine. This Framework is identical in both Final Cut Pro & Motion.","This framework is quite big in terms of file size as it contains things like Environment Map's and Physical Layer Assets (all in OpenEXR format).","It contains one internal Framework:"]},{"l":"AudioMixEngine","p":["As the name suggests, this looks like a Framework that handles audio mixing.","It also contains several internal Plugins:","Behaviors.ozp","Navigator.ozp","Particles.ozp","Text.ozp"]},{"l":"PluginManager","p":["As the name suggests, this looks like the Plugin Manager for Final Cut Pro.","Interestingly, it contains a property list file called 6B9D8D3C-D3BF-4276-828F-2212D24B11CE.plist which contains a list of 3rd party plugins that can only run certain versions of the plugin on certain versions of Final Cut Pro."]},{"l":"ProAppsFxSupport","p":["I'm not exactly sure what this Framework is, but given it contains a whole bunch of files such as:","BlueNoise1.tiff, BlueNoise2.tiff, BlueNoise3.tiff","GaussianNoise1.tiff, GaussianNoise2.tiff, GaussianNoise3.tiff","PinkNoise1.tiff, PinkNoise2.tiff, PinkNoise3.tiff","TVStatic1.tiff, TVStatic2.tiff, TVStatic3.tiff","WhiteNoise1.tiff, WhiteNoise2.tiff, WhiteNoise3.tiff","...and the fact it's called \"ProAppsFxSupport\", one can only assume it's a support library for some of the internal effects Apple's ProApp's take advantage of.","This Framework also exists in Motion."]},{"l":"ProChannel","p":["A shared Framework between Motion & Final Cut Pro, I assume this is something to do with colour processing."]},{"l":"ProCore","p":["Another shared Framework between Motion & Final Cut Pro, I believe this Framework also has to do with colour processing - such as blend modes, and colour space conversion."]},{"l":"ProCurveEditor","p":["I believe this Framework contains the Curve Editor used by Apple Motion."]},{"l":"ProGL","p":["The Framework that handles the OpenGL processing. I believe this creates an NSOpenGLContext(i.e. an object that represents an OpenGL graphics context, into which all OpenGL calls are rendered)."]},{"l":"ProGraphics","p":["A shared Framework between Motion & Final Cut Pro, I assume this is something to do with graphics processing."]},{"l":"ProInspector","p":["The Inspector UI used by Motion."]},{"l":"ProMedia","p":["This Framework looks like it handles support for things like RAW images and OpenEXR. It looks like it uses Metal 1.0."]},{"l":"ProOSC","p":["This looks like Motion's Framework for handling On-screen Controls.","It looks like it's doing processing on the GPU using the OpenGL Shading Language.","It has several .glsl files inside:","GammaLineFragment.glsl","RGBBackgroundFragment.glsl","RGBForegroundFragment.glsl","RGBMaskFillBackgroundFragment.glsl","RGBMaskFillForegroundFragment.glsl","RGBMaskFillVertex.glsl","RGBVertex.glsl","ShapeDashFragment.glsl","ShapeDashVertex.glsl","ShapeSmoothFragment.glsl","ShapeSmoothVertex.glsl"]},{"l":"ProShapes","p":["Motion's framework for handling Shapes.","Looks like it uses Metal 1.0, and makes uses of the Helium Renderer."]},{"l":"RetimingMath","p":["Looks like it's used by Motion to do some kind of complex retiming algorithm's."]},{"l":"Stalgo","p":["STALGO is an industrial-strength C++ software package for computing straight skeletons and mitered offset-curves."]},{"l":"StudioSharedResources","p":["This Framework just looks like it's mainly a collection of UI images used by both Motion and Final Cut Pro."]},{"l":"TextFramework","p":["Text Tools used by both Motion & Final Cut Pro.","Looks like it uses Metal 1.0."]},{"l":"TLKEventDispatcher","p":["TimeLineKit Event Dispatcher.","This looks like it's the \"backend\" to the magnetic timeline - i.e. the framework that translates user interactions (such as mouse clicks and drags) to actions with Final Cut Pro's timeline.","It looks like you register \"events\" for the timeline, and this Framework handles these requests."]},{"l":"TLKit","p":["The TimeLineKit Framework. This is the Framework that makes up the Magnetic Timeline, and also the timelines for iMovie & Motion.","It contains a bunch of .caar files, which are binary plists.","The CornerRadius.plist file allows you to adjust the corner radius of clips in the timeline.","I believe filenames that say \"SimpleMode\" refer to iMovie."]},{"l":"VideoToolbox","p":["I think this is the Framework that communicates with AV Foundations, CoreMedia, and handles video decoding, codecs, etc."]},{"l":"Discuss this page"}],[{"l":"Benchmark","p":["This page is dedicated to benchmarking Final Cut Pro."]},{"l":"BruceX","p":["BruceX is a small Final Cut Pro X XML file that you import into Final Cut Pro. It creates a very short timeline at a high resolution: 5120 by 2700 (at 23.975 fps). It uses standard Final Cut generators, titles and transitions. As it uses many layers of complex content, it requires lots of GPU RAM.","The Bruce X benchmark is based on timing how long a Mac configuration takes to export the project.","You can learn more here."]},{"l":"Final Cut Pro Lag Test","p":["Robbie Patton has created a simple test that stresses Final Cut Pro.","It contains a .png, a .wav and a .aiff. It shows that the .wav and .aiff interact and create performance lag.","Also included in the Final Cut Pro library is a video file explaining how to replicate this test. This issue has been reported to Apple.","You can download here."]},{"l":"Discuss this page"}],[{"l":"Frequently Asked Questions","p":["This page is dedicated to answering the most common developer questions about FxPlug4, Workflow Extensions, etc.","You can use the Search Tool at the top right of this page to search the FAQ.","Something missing or have a question? Learn more here!"]},{"l":"C"},{"l":"Console spam from FxPlug4","p":["When you create an FxPlug4 plugin, you'll see a lot of these messages in Console:","Unfortunately, there's no way to stop it. It’s harmless, though.","I think what it’s trying to tell us is that the FxPlug4 process doesn’t have some files related to the UI that Apple display in Motion and Final Cut Pro.","The reason it cares about this is because they use ViewBridge to show NSView's from your process in their process. But because of the way they show them, it ends up not mattering.","I wish there were a way to turn off the spew, but it’s in macOS itself."]},{"l":"W"},{"i":"what-is-disabledrt-in-a-fcpxml","l":"What is disableDRT in a FCPXML?","p":["DRT is dynamic range tracking.","It’s an internal name the Final Cut Pro team use for the new automatic HDR settings.","The disableDRT setting in the FCPXML tells the app not to enable the automatic HDR settings on older projects created before the setting existed.","If you have existing projects and want to ensure they render the same as they did in previous versions, you don’t want to touch that value.","Something missing or have a question? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"FCPXML","p":["This section of the site is dedicated to FCPXML.","You can find the official Workflow Extensions documentation here.","There's a great article called Demystifying Final Cut Pro XMLs by Philip Hodgetts and Gregory Clarke over at fcp.co."]},{"l":"Preferred XML Editor","p":["I'm a massive fan of BBEdit 14.","It has a 30 day free trial, and is also available on the Mac App Store."]},{"l":"DTD Validation","p":["macOS has a built in XML lint tool - allowing you to validate a FCPXML document against it's DTD file.","A DTD (Document Type Definition) file is used in XML to define the structure and the legal elements and attributes of an XML document. It's a set of markup declarations that provide a rulebook for a specific type of XML document, describing what the document contains and how those elements and attributes are organised.","You can download all the FCPXML DTD files here.","You can then use this Terminal Command to validate things:","You can just drag in a file from Finder into Terminal, and Terminal will write out the file's path. Simply type xmllint --dtdvalid, then drag in the DTD file from Finder, and then your FCPXML file.","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"FxPlug","p":["This section of the site is dedicated to FxPlug4.","You can find the official FxPlug4 documentation here.","If you want a real-world example of a FxPlug4 application, you can look at Gyroflow Toolbox."]},{"i":"third-party-frameworks","l":"Third Party Frameworks.","p":["Here is a collection of useful third party frameworks."]},{"l":"FxKit","p":["A Swift implementation of FxCore plugins for Final Cut Pro and Apple Motion"]},{"l":"Release Notes"},{"i":"fxplug-427","l":"FxPlug 4.2.7","p":["Released: 18th July 2023","Improved reconnection of Plug-ins after crash.","Fixed an issue with the Motion hanging when a 3rd party plug-in crashes."]},{"i":"fxplpug-426","l":"FxPlpug 4.2.6","p":["Fixed a caching error when analysis was canceled.","Fixed a crash when scheduling frames for image wells.","Fixed a leak of IOSurface s in the FxAnalyzer when the plug-in canceled analysis.","Fixed a potential leak of OpenGL contexts during analysis.","Fixed an issue where a plug-in could start two analyses without the app realizing it.","Fixed an issue where an effect source layer used as the input to a generator image well would restrict the image well input to the template’s dimensions.","Fixed an issue where an FxPlug plug-in accessing multiple lights in a scene could cause a crash.","Fixed an issue where an older method was used for interpolating custom parameters.","Fixed an issue where analysis tasks canceled by the plug-in would remain in memory and block further analysis from happening.","Fixed an issue where only one push button would be available when using the FxSimpleColorCorrector example plug-in.","Fixed an issue where the Fx3DBox example plug-in would fail to build.","Fixed an issue where undoing a text change in a template that uses an FxPlug plug-in would cause a crash.","Fixed an issue where, in some cases, the FxOnScreenControlAPI-objectBounds method could return an incorrect cached value.","Fixed an issue with 3rd party plug-ins being restricted to rendering in Rec709 when Automatic Color Processing was enabled in a Motion project or template.","Fixed an issue with Full Width parameters being clipped on the right after reloading a project in FCP.","Fixed an issue with FxColorGamutAPI accessing previously-freed memory.","Fixed an issue with the 3D API where changes to the camera did not always cause the plug-in to re-render.","Improved stability and reliability","Removal of unsupported FxPlug 3 APIs from the FxPlug framework"]},{"i":"fxplug-425","l":"FxPlug 4.2.5","p":["Improved stability and reliability","Improved reconnection with plug-ins after a memory jetsam event.","Improved the speed of reconnection with plug-ins after a crash, or plug-in process suspension by macOS.","Improved the performance of image well inputs."]},{"i":"fxplug-424","l":"FxPlug 4.2.4","p":["Ensured that -layerMatrixAtTime:error: returns a transform that includes its ancestors' transforms.","Ensured that the analysis state is set properly if the plug-in returns NO from -desiredAnalysisTimeRange:forInputTimeRange:error:","Fixed a crash triggered by dragging an effect to Motion’s Favorites.","Fixed a large memory leak when retrieving image well images with zero opacity or of zero size.","Fixed a memory leak that affected Apple Silicon Macs.","Fixed a memory leak that could occur when retrieving frames at other times.","Fixed a performance issue when using image references with Drop Zones.","Fixed a potential crasher when a plug-in's window was open and the document was closed or the application was quit.","Fixed a potential hang when a plug-in called -startAction:.","Fixed an issue of the application hanging when deleting an instance of an FxPlug plug-in which had ongoing analysis.","Fixed an issue where custom views were sometimes not created properly for plug-ins that had numerous custom views.","Fixed an issue where the frames returned for analysis could be the wrong size.","Fixed an issue with Final Cut Pro unable to close the application window while FxPlug analysis was in-progress.","Fixed leak of a small empty image when an image well had no media in it.","Improved stability and reliability","Improved the speed of custom parameter creation."]},{"i":"fxplug-423","l":"FxPlug 4.2.3","p":["Changes to parameters made by OSCs will now be properly recorded in the host's undo stack.","Filters can now use FxAnalysisAPI_v2 methods to analyze image parameter inputs.","Fixed a crash when deleting a plug-in that had an active analysis session running.","Fixed a leak of onscreen control objects in the host.","Fixed an issue with -setPopupMenuParameter:entries:defaultValue: not updating pop-up menu entries in Final Cut Pro.","Fixed an issue with adding a path to a path picker.","Fixed an issue with display of the blocked/legacy plug-in warning.","Images retrieved from image wells in transitions will now have the proper image origin.","Improved behavior of rigged parameters.","Improved behavior of show/hide properties of parameters that have a dependency on another parameter.","Improved how FxRemoteWindowAPI handles window resizing.","Improved loading time of custom views in the host app's inspector.","Improved performance of the FxAnalysisAPI when analyzing HEVC and H.264 clips in Final Cut Pro.","Improved undo stack management for bulk changes to multiple parameters.","Introduced FxRemoteWindowAPI_v2 with a new method for setting the minimum and maximum size of remote windows","kFxCommand_Undo and kFxCommand_Redo commands now function from remote windows created in Final Cut Pro.","Minor changes made to the FxPlug template and examples to improve Metal rendering.","The FxColorGamutAPI should now be available during analysis.","The FxTimingAPI should now be available and give correct results during -pluginInstanceAddedToDocument.","The reply block for calls to -[FxRemoteWindowAPI remoteWindowOfSize:] will now always be run on the plug-in's main UI thread.","Undo group names are now used in the undo queue."]},{"i":"fxplug-422","l":"FxPlug 4.2.2","p":["-parameterChanged:atTime:error: should be called less frequently during undo and should be called when a plug-in changes a parameter.","Fixed an issue where putting a Motion object into an image well in a template could cause Final Cut Pro to crash.","Fixed an issue with -analyzeFrame:atTime:error: not being called from a custom UI control.","Fixed an issue with app bundle identification when rendering FxPlug 4 in Compressor.","Fixed an issue with FxParameterSettingAPI not setting a parameter successfully from within the body of a method associated with a push button.","Fixed an issue with onscreen control temporal drift when setting keyframes while dragging an OSC object.","Fixed an issue with setting parameter flags in a generator when the host is processing an undoable operation.","FxImageTile s should now be properly marked as having their origin in the top left or bottom left in all cases.","Images over 4,000 pixels on a side should no longer cause issues with transitions in Final Cut Pro.","Improvements to performance of FxAnalysisAPI.","Introduced FxAnalysisAPI_v2 with two new methods -startForwardAnalysis:ofParameter:error: and, -startBackwardsAnalysis:ofParameter:error: to analyze input from image reference parameters","Introduced FxParameterSettingAPI_v6, which adds two new methods, -addFlags:toParameter: and -removeFlags:fromParameter:, for simplified parameter flag management","Misusing -startAction:/ -endAction: will now log a message to the console and the call will do nothing.","Setting float parameters during analysis should cause OSCs to be updated.","The Timing API should now work properly when called from a custom view's -draw method.","Times sent to OSC methods in Final Cut Pro should be correct now.","When a plug-in sets the kFxPropertyKey_NeedsFullBuffer property, the apps should now always provide a fully buffered set of inputs and outputs, even if the entire canvas is not showing.","When a rigged FxPlug parameter is changed by the rig, the canvas will now properly update."]},{"i":"fxplug-421","l":"FxPlug 4.2.1","p":["FxRemoteWindowAPI allows a plug-in to create a window within Final Cut Pro or Motion and populate it with a custom view","Push button and help selectors no longer take an argument, which allows them to be properly called in Swift. This means you’ll need to update the selectors you previously sent to -addPushButtonWithName:parameterID:selector:flags:.","Changes to parameters are more consistent during onscreen control operations. Also, a series of changes from a mouseDown, through several mouseDragged events, and a mouseUp event will now automatically be treated as a single undoable event. There should be no need to use the UndoAPI during OSC usage.","The FxRemoteWindowAPI will only allow one window to be created per plug-in instance. The FxSimpleColorCorrector example has been updated to use the -displayWindow: method.","-setupAnalysisForTimerange:frameDuration:error: now provides field duration instead of frame duration for interlaced timelines. Progressive timelines remain unchanged.","The FxAnalyzer inputTimeRange no longer includes additional frame handles."]},{"i":"fxplug-420","l":"FxPlug 4.2.0","p":["FxPlug.framework is now a universal framework","FxCommandAPI_v2 allows a plug-in to move the host’s playhead to an arbitrary time","FxProjectAPI retrieves the URL of the plug-in data folder within a Motion project’s folder","FxParameterRetrievalAPI_v7 adds a method for retrieving the image information about an image parameter","New method -pluginInstanceAddedToDocument added to FxTileableEffect to track open documents in the host app","New kFxParameterFlag_USE_FULL_VIEW_WIDTH flag for parameters to use full width of the inspector","The FxShape example’s OSC has been made thread-safe","The macOS deployment target for the plug-in examples has been updated to 10.15","kFxError_UserCancelled added for FxAnalyzer for when you want to stop analysis, but don't wish to display an error alert to the user","Motion now warns users when it does not load 3rd party in-process FxPlugs on Apple Silicon","kFxParameterFlag_HIDDEN now works with custom parameters","Known Issues:","The FxDynamicRegistration example may display deprecation errors for FxOpenGLContextCache.m. This is expected when building with recent macOS SDKs because OpenGL has been deprecated. This example is included for Metal comparison purposes."]},{"i":"fxplug-410","l":"FxPlug 4.1.0","p":["Dynamically registered plug-ins’ plist requirements have changed for FxPlug 4.1 and the FxDynamicRegistration example has been updated.","FxAnalysisAPI allows frame-by-frame analysis of source video in both Final Cut Pro and Motion","FxBrightness example and Swift template have been updated to Swift 5.","FxImageTile s now include a CGColorSpaceRef describing the color space they are in","FxPlug 2 and FxPlug 3 are deprecated","FxPlug now ships as a sparse SDK, which requires you to make some small changes to the search paths of your plug-in in the Xcode project. This includes modifying the Additional SDKs ( ADDITIONAL_SDKS) setting to include /Library/Developer/SDKs/FxPlug.sdk, and replacing the current Framework Search Paths setting ( FRAMEWORK_SEARCH_PATHS) with /Library/Frameworks $(inherited) in the Build Settings of the Xcode project.","FxPlugs with windows can instruct the app to perform specific commands when the user presses a key combination for that command","Improved performance of enabling and disabling parameters","Improved responsiveness for OSCs and custom UI","Introduced Fx3DAPI_v5 and deprecated Fx3DAPI_v4","Known Issues:","Motion templates containing missing FxPlugs will now display an error rather than rendering","New Fx3DBox example demonstrates how to use the new Fx3DAPI_v5","New FxCommandAPI can instruct the host application to perform commands","PluginManager.framework is now copied to the bundle and code signed with a script in the FxPlug examples and FxPlug templates","Plugins are called to do work on background threads, and AppKit should never be used when running on a background thread. This may raise an exception, which will cause your plug-in to crash if your plug-in doesn’t catch it. All UI work should be done on the main UI thread. If you need to display an alert or window but are running on a background thread, you can use: dispatch_async(dispatch_get_main_queue(), ^(){…}); or: [self performSelectorOnMainThread:…]; These will both run your code on the main UI thread at some later time.","Some FxPlug example projects have revised names that include the prefix “Fx”.","The error “‘FxPlug/FxPlugSDK.h’” will occur after installing FxPlug 4.1 and attempting to build an FxPlug 4.0 or older plug-in. This is a result of the FxPlug SDK switch to a sparse SDK and can be easily remedied by changing the SDK and framework search locations in your plug-in’s Xcode project. See the release notes above for details.","ViewBridge keys added to plists for the FxPlug examples and FxPlug templates","You can receive the host's identifier and version with the new FxPrincipalDelegate protocol."]},{"i":"fxplug-400","l":"FxPlug 4.0.0","p":["FxPlug plug-ins run sandboxed and out-of-process for improved stability and security","Plug-in developers can control the rendering technologies and languages they use, including Metal and Swift","The new FxTileableEffect API allows plug-ins to render only the required portions of an effect for improved efficiency","The FxEyeType property indicates if Final Cut Pro X is currently rendering the left or right eye of a 360° Stereoscopic project","Plug-ins written in the FxPlug 4.0 style should use the latest protocol versions available as many of the new protocols do not inherit from previous versions and now use CMTime instead of FxTime","Even though OpenGL, OpenCL, and Quartz Composer have been deprecated in macOS, those technologies can still be used to aid in the phased migration of many FxPlug 3 plug-ins to FxPlug 4, and then to Metal or Core Image","Version A of PluginManager.framework is no longer bundled in the framework","FxPlug 3.1.1 documentation has been archived here","FxPlug 4.0 documentation highlights new and updated concepts and APIs in the FxPlug SDK; it is included as a PDF with the installer and is available here","Known Issues:","If you are attempting to use Hardened Runtime and are hitting this build error: “PluginManager.framework/Versions/A: bundle format unrecognized, invalid, or unsuitable. Command CodeSign failed with a nonzero exit code” when attempting to copy the PluginManager.framework into your built product while using Code Sign On Copy, you may need the following fix. Instead of using a \"Copy Files\" build phase, it is recommended that you use a “Run Script” build phase to copy and then force code sign PluginManager.framework. To code sign you can use the following command in your script: codesign --force --timestamp --options runtime --sign \"{CODE_SIGN_IDENTITY}\" \"/$/PluginManager.framework\"","Build error “Multiple commands produce …” occurs in Swift projects if the Product Name for both the Wrapper App and the XPC Service are the same. It is recommended that you append “XPC” to the product name of the XPC Service to differentiate it from the Wrapper App process.","If ad-hoc code signing fails when building plug-ins written in Swift, it is recommended you code sign the targets with your own certificate to avoid code sign build errors","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"iXML"},{"l":"Introduction","p":["iXML is an open standard for the inclusion of location sound metadata in Broadcast Wave audio files.","This includes things like Scene, Take and Notes information. It is designed to standardise the exchange of metadata between field recorders and post production software.","The iXML specification describes an WAV RIFF chunk in BWF files which contains standard XML data following the iXML specification.","iXML uses the XML (eXtensible Markup Language) standard for communication of tagged metadata. All fields are optional when creating iXML, and readers of iXML data must not assume or require any fields to be present.","A very simplified iXML data chunk, in a mono file with only the most basic metadata objects will look something like this:","You can read a very detailed article about iXML here."]},{"l":"Specification","p":["The iXML Specification can be found here."]},{"l":"Final Cut Pro iXML Support","p":["All of this occurs automatically on import, and the settings are retained for future import operations.","Although QuickTime files can also contain iXML metadata, as of version 10.3.3, Final Cut Pro seems to only be able to analyse WAV files on import.","As of Final Cut Pro 10.3.3, the following parameter's don't seem to be supported:","Audio Configuration Track Name","Audio Roles","CIRCLED","FALSE_START","FILE_SET","Final Cut Pro Metadata Property","Final Cut Pro Supports the following iXML fields:","Good","HISTORY","In Final Cut Pro, you can assign roles based on the iXML metadata using the Assign iXML track names if available checkbox in Import preferences.","It's important to note however that during the import, Final Cut Pro will copy this iXML metadata and store it in the Library database - it does not read the iXML metadata more than once, so if you update the iXML metadata after import, these changes will not be reflected in your Final Cut Pro Library.","iXML Parameter","NO_GOOD","NOTE","Notes","PROJECT","Reel","SCENE","SPEED","SYNC_POINT_LIST","TAKE","TAKE_TYPE","TAPE","The Assign Role setting and the Assign iXML track names if available setting can work together. For example, you can create a custom role such as Location Sound using the role editor and then choose that role from the Assign Role pop-up menu. If the Assign iXML track names if available checkbox is selected, imported clips are assigned the Location Sound role, with custom audio channel names coming from the iXML file.","TRACK_LIST: FUNCTION","TRACK: NAME","UBITS","When this checkbox is selected, Final Cut Pro analyses imported audio for iXML metadata tags, then creates subroles with the names embedded by the audio field recorder, and assigns the subroles to the corresponding components in the imported clips.","WILD_TRACK"]},{"l":"Tools","p":["The most useful tool for reading and writing iXML data is the free Sound Devices Wave Agent."]},{"l":"Discuss this page"}],[{"l":"Library Bundle"},{"l":"Introduction","p":["There's very limited information out there about the Final Cut Pro library bundle.","The purpose of this article is to look inside the bundle, and explain what all its bits are and how it works. Let the adventure begin!"]},{"l":"Core Data","p":["Before we dig too deep into the Final Cut Pro library, it's important to understand one of the core technologies Apple uses in Final Cut Pro - Core Data.","Core Data is an object graph and persistence framework provided by Apple in the macOS and iOS operating systems. More than 13 years old now (at the time of writing), Core Data was introduced in Mac OS X 10.4 Tiger and iOS with iPhone SDK 3.0 and like many parts of macOS, Core Data owes much of its design to an earlier NeXT product, Enterprise Objects Framework (EOF).","You can watch the original 2004 WWDC session on Core Data here.","You can read Apple's official developer documentation on Core Data here.","Core Data is a framework that you use to manage the model layer objects in an application. It provides generalised and automated solutions to common tasks associated with object life cycle and object graph management, including persistence (meaning that, for example, an iPhone App can remember its settings each time the phone is turned off and on again).","It allows data organised by the relational entity–attribute model to be serialised into XML, binary, or SQLite stores. The data can be manipulated using higher level objects representing entities and their relationships. Core Data manages the serialised version.","Core Data can interface directly with SQLite, insulating the developer from the underlying SQL - but it's not a SQL wrapper, and offers a much higher level of abstraction. Instead of writing SQL, you can create complex queries by associating an NSPredicate object with a fetch request. However, because Core Data can use SQLite, it's easy to get confused with the differences between SQLite and Core Data. Remember that Core Data isn’t a database. If you want an Object-relational mapping (O/RM) or SQL wrapper, Core Data is not what you want.","Essentially, Core Data is a model layer technology, that's been designed to help programmers do lots of cool stuff, whilst writing less code. It's a toolkit that allows developers to more easily access and manipulate data. For example, it has built-in undo/redo management, allowing developers to add complex undo/redo functionality to their applications with minimum code.","Even though Core Data is a fantastic framework, there are several drawbacks. These drawbacks are directly related to the nature of the framework and how it works.","Core Data can only do its magic because it keeps the object graph it manages in memory. This means that it can only operate on records once they’re in memory. This is very different from performing a SQL query on a database. If you want to delete thousands of records, Core Data first needs to load each record into memory. It goes without saying that this results in memory and performance issues if done incorrectly.","Another important limitation is the threading model of Core Data. The framework expects to be run on a single thread. Fortunately, Core Data has evolved dramatically over the years and the framework has put various solutions in place to make working with Core Data in a multithreaded environment safer and easier.","For applications that need to manage a complex object graph (i.e. Final Cut Pro), Core Data is a great fit."]},{"l":"DeepSkyLite","p":["Final Cut Pro uses a lot of internal Frameworks, which you can learn more about here.","Within the Flexo Framework, is a framework called DeepSkyLite, which is essentially the \"database engine\" for Final Cut Pro.","Inside the DeepSkyLite Framework is two Compiled Core Data Models:","DSLite_v1.mom","DSLite_v2b1.mom","A .mom file is a binary property list that's NSKeyedArchiver encoded. You can easily open it up in something like BBEdit and have a look, but the easiest and best way to explore a Core Data Model is to just import it back into Xcode.","Here's what Final Cut Pro's model looks like in Xcode:","Patent Screenshot","Interestingly, this model is used for both Final Cut Pro on Mac and Final Cut Pro for iPad."]},{"l":"Discuss this page"}],[{"l":"Patents","p":["Alex4D has a great blog post on the Magnetic Timeline patent (Media-editing application with media clips grouping capabilities) here.","The actual patent can be found here.","Here's one of the screenshots from the patent:"]},{"l":"Patents on Google Patents","p":["...it's a deep rabbit hole, enjoy!","Accelerator handles","Adjustment of color values for optimized image processing","Anchor point in media","Application for designing journals","Applying a Realistic Artistic Texture to Images","Associating keywords to media","Auto stacking of related images","Automatic generation of multi-camera media clips","Boolean Search User Interface","Christophe Souchard","Colleen Pendergast","Color adjustors for color segments","Context aware user interface for image editing","Context based adaptive image resampling","Display of multiple images","Edit to tape","Estimating and removing lens distortion from scenes","Fanning user interface control for medium editing application","Fanning user interface controls for a media editing application","Fast creation of video segments","Here's a small collection of Final Cut Pro related patents:","Import directly into specified folders and user interface","Interactive image thumbnails","Ken Matsuda","Media-editing application with media clips grouping capabilities","Method and apparatus for color correction","Method and apparatus for dynamically resizing windows","Method and interface for converting images to grayscale","Modified media presentation during scrubbing","Navigating Image Presentations","Navigation within a large computer file","Optimizing the Execution of Media Processing Routines Using a List of Routine Identifiers","Previewing effects applicable to digital media content","Producing Smooth Motion Compensated Frames by Combining Multiple Interpolation Results","Publishing Media Content to Virtual Movie Theatres","Randy Ubillos","Regular sampling and presentation of continuous media stream","Retiming media presentations","Rolling shutter distortion correction","Select drag and drop operations on video thumbnails across clip boundaries","Smoothing and/or locking operations in video editing","Spatial and temporal alignment of video sequences","Spatial conform operation for a media-editing application","Split edits","Synchronizing video with audio beats","Techniques for displaying digital images on a display","Two-dimensional timeline display of media items","Unified slider control for modifying multiple image properties","User interface tools for selectively applying effects to image","User interfaces for editing video clips","Video and audio waveform user interface","Video format for digital video recorder","Viewing digital images on a display using a virtual loupe","Viewing digital images using a floating controller","Visual presentation composition","Want to contribute? Learn more here!","You can find more by searching by these authors:"]},{"l":"Discuss this page"}],[{"i":"tools--frameworks","l":"Tools & Frameworks","p":["This section of the site is dedicated third party developer tools and frameworks."]},{"l":"F"},{"l":"FxCore","p":["FxCore is a node-based compositing engine inspired by Quartz Composer and designed for the demanding workloads of visual effects hosted by video applications.","FxCore powers the most advanced products you see in FxFactory, providing Metal GPU acceleration to our plugins running in Final Cut Pro, Premiere Pro, After Effects and Motion."]},{"l":"FxKit","p":["A Swift implementation of FxCore plugins for Final Cut Pro and Apple Motion"]},{"l":"M"},{"l":"MarkersExtractor CLI","p":["MarkersExtractor CLI is Marker metadata extraction and conversion tool for Final Cut Pro. It is both a CLI Tool and an API Library.","Some of the core features include :","Accurately extract Markers from FCP's FCPXML/FCPXMLD","Ability to batch extract and render stills or animated GIFs based on each marker's timecode","Ability to batch burn-in labels of each marker's metadata onto the stills or animated GIFs","Spearheaded by Vigneswaran Rajkumar."]},{"l":"O"},{"l":"OpenTimelineIO","p":["OpenTimelineIO is an interchange format and API for editorial cut information. OTIO contains information about the order and length of cuts and references to external media. It is not however, a container format for media.","For integration with applications, the core OTIO library is implemented in C++ and provides an in-memory data model, as well as library functions for interpreting, manipulating, and serializing that data model. Within the core is a dependency-less library for dealing strictly with time, opentime.","The project also supports an official python binding, which is intended to be an idiomatic and ergonomic binding for python developers. The python binding includes a plugin system which supports a number of different types of plugins, most notably adapters, which can be used to read and write legacy formats into the OTIO data model."]},{"l":"P"},{"l":"Pipeline","p":["Pipeline is a Swift framework for working with FCPXML files easily.","However, it hasn't been updated since June 2019."]},{"l":"S"},{"l":"SubtitleKit","p":[".dxfp",".sbv",".srt",".sub",".ttml",".vtt","DXFP","File extension","Format","Is supported","No","Package for creating, modifying, and managing subtitle files, such as SubRip (.srt).","Partially","SubRip","SubViewer","Supported formats","TTML","WebVTT","Yes","YouTube Captions"]},{"l":"T"},{"l":"TimecodeKit","p":["The most robust, precise and complete Swift library for working with SMPTE timecode. Supports 22 industry timecode frame rates, including conversions to/from timecode strings and offering timecode-based calculations.","Timecode is a standard for representing video frames and used for video burn-in timecode (BITC), or display in a DAW (Digital Audio Workstation) or video playback/NLE applications."]},{"l":"V"},{"l":"Vuo","p":["Vuo is a visual programming tool using patches and 'noodles' to construct a composition that will process video. Those compositions will be able to be published directly for use within FCPX. You can build effects, generators and transitions.","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Workflow Extensions","p":["This section of the site is dedicated to Workflow Extensions.","You can find the official Workflow Extensions documentation here.","If you want a real-world example of a FxPlug4 application, you can look at CommandPost.","Want to contribute? Learn more here!"]},{"l":"Discuss this page"}],[{"l":"Credits","p":["FCP Cafe was thrown together by Chris Hocking at LateNite Films.","The FCP Cafe icon was designed by the amazing Matthew Skiles.","You can download a Desktop Wallpaper version of it here.","The origin story comes back to this tweet, where Alex Gollner tweeted that \"fcp.co is no longer the Final Cut Pro watercoooler place\", and Chris replied with \"Screw it… I just registered finalcutpro.tech. Let’s do this thing!\".","Chris decided that FCP Cafe was a better name/domain, and as a result, this site was born.","Since creating the site, lots of people have contributed!"]},{"l":"LateNite Films","p":["LateNite is an independent production studio committed to investing in emerging creatives with strong, unique voices, helping tell their stories in a creatively supportive and collaborative environment. Our work uses humour to explore outsider stories that are unmistakably human and straddle the line between light and dark."]},{"l":"Chris Hocking","p":["Chris has been working in the entertainment industry for over two decades. Previously the Post Production Supervisor at Melbourne's award winning editing house The Butchery, and finishing house The Refinery, Chris has an incredibly strong and varied technical and business background, ensuring that each production makes use of the best and most relevant technology and workflows. He is the creator of the open source macOS application, CommandPost, which has been downloaded over 165K times - as well as a suite of Final Cut Pro tools on the macOS App Store. His producing credits include the SBS2 series The Wizards of Aus, the Fairy Tale unit on Foxtel mini series Lambs of God, and the ABC ME project The Legend of Burnout Barry. Chris is a member of SPA, ASE and is an Adobe Certified Expert."]},{"l":"Discuss this page"}],[{"l":"Privacy Policy","p":["Last Updated: Tuesday 13th June 2023","FCP Cafe does not use cookies on its website.","We do not collect any personal identifiable information from you when you visit our Website.","We don't embed any videos - we only show a thumbnail which links to the video - to prevent third party cookies/trackers.","We use GitHub Pages to host and manage this website.","We use CloudFlare for DNS hosting, and VentraIP for domain hosting.","You can read CloudFlare's privacy policy here.","We use GitHub Issues to manage our Bug Tracker& Wish List.","We use GitHub Discussions to manage the comments and discussions on the site.","The comments feature at the bottom of every page is powered by giscus, which also has no tracking or database.","You can read GitHub's Privacy Statement here.","The source code and change log for this website can be found on GitHub.","Any code (such as GitHub Actions) are licensed under a MIT License."]},{"l":"Security","p":["The security of your Personal Information is important to us, but remember that no method of transmission over the Internet, or method of electronic storage, is 100% secure. While we strive to use commercially acceptable means to protect your Personal Information, we cannot guarantee its absolute security."]},{"l":"Links to other sites","p":["FCP Cafe contains links to other sites that are not operated by us. If you click on a third party link, you will be directed to that third party's site. We strongly advise you to review the Privacy Policy of every site you visit.","We have no control over, and assume no responsibility for the content, privacy policies or practices of any third-party sites or services."]},{"l":"Changes to This Privacy Policy","p":["We may update our Privacy Policy from time to time. Thus, you are advised to review this page periodically for any changes. We will notify you of any changes by posting the new Privacy Policy on this page. These changes are effective immediately after they are posted on this page.","You can check the change history of this privacy policy here."]},{"i":"questions","l":"Questions?","p":["Please contact us with any questions: support@latenitefilms.com"]},{"l":"Discuss this page"}],[{"l":"Contribute","p":["FCP Cafe is entirely open source and hosted on GitHub.","GitHub is a safe and secure developers platform used by over 73 million users worldwide.","FCP Cafe uses CloudFlare for DNS hosting, and VentraIP for domain hosting.","You can make changes to the site by submitting pull requests on GitHub.","We welcome and encourage users submitting their own case studies, articles, products and news items.","You can see all the current contributors here. Everything is tracked and archived on GitHub.","The entire site is written in Markdown, so it's very easy to modify and update without necessarily knowing any HTML or code.","The website is build on Retype, which has a lot of power and flexibility, so you can easily add all kinds of components just using Markdown.","However, if you're not confident using GitHub, you can also email us content here: support@latenitefilms.com"]},{"l":"Our To-Do List","p":["‘What have I done’ you’ve opened the precision editor, ESC will close it.","‘What’s that red box in the viewer’ (zoomed in, shift Z to ‘fit to window’)","(Turn off background rendering and select leave files in place…)","Add any missing Motion Templates, Tools and Plugins.","Add information to our FAQ.","Add personalised reviews to any Motion Templates, Tools and Plugins you use regularly.","Backups and how to.","captions (we now use filmora for speech to text captions)","Dave Davis","Dominic Leung","Ed Hanbury","Elise Butt","Expand the Motion Templates page. For example, rather than just having one section for MotionVFX and FxFactory, we should also list their best/most useful products.","Fouad Gaber","Help!!! It’s saying my storage is full and I’m only working on a five minute zoom call!!!!","If you're interested in collaborating, and helping FCP Cafe grow, here's some ideas of some of the things you can do:","If you've worked on a professional product (feature film, short film, television commercial, television series, etc), consider writing a case study.","Make sure all your Final Cut Pro bug reports are added to our Bug Tracker.","Make sure all your Final Cut Pro feature requests are added to our Wish List.","Matt Newman(last 3 years only!)","Media management, everything from how to setup the library and best practices to its using all my drive space to export settings.","Media usage, drive bandwidth, proxy, etc","Paul Hardcastle(last 9 months only!)","Rendering or exporting failing normally due to a corrupt rendered frame","Rohan Zerna(earlier TVCs were cut in FCP7)","Ross Hallard","There's a bunch of stuff we can add to the FAQ - these are real questions from the community:","There's a bunch of TVCs we can add to the Cut on Final Cut Pro page:","Why \"Leave In Place\", doesn't when Importing copied card structures from a drive, using the Import window. This consistently baffles and confuses folks, often resulting in the dreaded \"missing camera icon\", due to crashing and slowness because they are unwittingly copying media back to the source, where the media already is.","Why do we have to render over and over again a project with titles everytime we close the program","working remotely online / proxy editing","XML workflow between PP is still a biatch."]},{"l":"Our Mission","p":["We want this site to be:","Open: This site will remain open-source on GitHub for anyone to suggest pull requests","Up-to-date & Relevant: We want this site to always be up-to-date and relevant","No bullshit: We want this site to be honest, truthful, useful and professional","Community Driven: This isn't our site, it's \"owned\" by the professional Final Cut Pro Community","Modern: This site should work great on the latest browsers, including mobile","Fast & Clean: This site should load quickly, and be easy to navigate","No analytics or user tracking: No cookies here!"]},{"i":"advertising--sponsored-content","l":"Advertising & Sponsored Content","p":["We're open to promoting Final Cut Pro products and services on the front page within the Latest News in a clean and useful way.","For example, here's a sponsored post that could appear on the home page within the Latest News:","Use Transfer Toolbox to get from Final Cut Pro for Mac to iPad!","Sponsored posts can just be plain text, with a single link. We don't allow images, videos, or other embedded elements.","If you would like to advertise on FCP Cafe, please contact us to discuss: support@latenitefilms.com"]},{"i":"whats-a-pull-request","l":"What's a Pull Request?","p":["Imagine you're working with a group of friends on a big school project, and you're all adding different parts to it. Now, you're all using the same master copy of the project, but you're all working separately. When you're ready to add your part to the master copy, you don't just want to plop it in there. You want your friends to check it over, make sure it fits with everything else, and then add it in when they agree it's ready. This way, you ensure that everyone's work meshes well together and the project doesn't become a mess.","A GitHub pull request is basically the same idea. When you're working on a shared codebase, or \"project,\" you often work on your own copy, or \"branch\". When you think your changes are ready to be added to the shared codebase, you make a \"pull request\". This is a proposal that says \"I think these changes I made should be added to our shared project\".","Your teammates then can look over your changes, suggest edits, and finally, if they agree that your changes are good, they \"merge\" them into the shared project. This way, everyone keeps the code clean and organized, and you have a record of who added what and when.","So, in simple terms, a pull request is a way of proposing changes to a shared project and allowing others to review and approve those changes before they're added."]},{"l":"Navigating GitHub","p":["For example, each time you make a pull request, our fancy GitHub Action does the following:","However, to make sure the website is super easy to update and improve, we use GitHub Actions to \"do stuff\" to our markdown files whenever we submit a pull request.","Looks at all the individual Asset Management in this folder, and generates an alphabetical list of them for the Asset Management page.","Looks at all the individual Camera Formats in this folder, and generates an alphabetical list of them for the Camera Formats page.","Looks at all the individual FAQ in this folder, and generates an alphabetical list of them for the FAQ page.","Looks at all the individual FxPlug in this folder, and generates an alphabetical list of them for the FxPlug page.","Looks at all the individual Motion Templates in this folder, and generates an alphabetical list of them for the Motion Templates page.","Looks at all the individual News item in this folder, and generates an alphabetical list of them for the Latest News page.","Looks at all the individual Plugins in this folder, and generates an alphabetical list of them for the Plugins page.","Looks at all the individual Sponsors in this folder, and uses them on the Latest News page.","Looks at all the individual Tools & Frameworks in this folder, and generates an alphabetical list of them for the Tools & Frameworks page.","Looks at all the individual Tools in this folder, and generates an alphabetical list of them for the Tools page.","Looks at all the individual Workflow Extensions in this folder, and generates an alphabetical list of them for the Workflow Extensions page.","Looks at all the Latest News items and generates an RSS feed","This means, if you want to add a Tool, Motion Template, Workflow Extension, News item, etc. you can just add a new markdown file in that folder, and once the pull request is approved, everything will be updated automagically.","To create the fastest website possible, FCP Cafe is what's called a \"static site\". It just a collection of HTML files in a folder - nothing fancy."]},{"l":"How to Edit Pages","p":["Edit this file","If changes are required, they'll add comments within the pull request.","If you have questions, you can ask them on the Discussions board.","If you're modifying a list of Tools or Workflow Extensions, everything should be sorted in alphabetical order.","If you're not already registered with GitHub, create a free account.","Once done click Commit changes. You can enter a message and description for the commit. Press Commit changes again.","There's an Edit this page on GitHub link at the bottom of every page.","This will send your changes to the FCP Cafe team to review and approve.","To make changes simply click the little pencil Edit this file button.","You can add a title and detailed description to the pull request. Once you're done click Create pull request.","You can also email us here: support@latenitefilms.com","You can edit the contents of this page by clicking the link at the bottom of this page.","You can learn more about basic formatting here.","You can then make changes in the text editor using the Markdown syntax. Copying and pasting existing syntax is the best way to get started.","You should make sure all external links open in a new tab/window (edit this page to see how that works).","You will now be presented with a Open a pull request page."]},{"l":"GitHub Web-based Editor","p":["You can use the github.dev web-based editor to edit files and commit your changes.","Simply replace the .com with .dev on any GitHub URL.","For example to edit this page you can use:","You can learn more here."]},{"l":"External Links","p":["All external links should open in a new tab/window.","This is handled automatically by Retype."]},{"l":"Embedded Videos","p":["To keep that site as fast as possible, and free from tracking/cookies, we've decided not to allow embedded videos.","Instead, we'll be posting the Video Thumbnail as a clickable link to the video.","Here's an example of how this looks in Markdown:","You can use this website for download YouTube Thumbnails."]},{"l":"Images","p":["All images should be stored within the /docs/static/ folder on GitHub.","You can find it here."]},{"l":"GitHub Desktop","p":["You can also use GitHub Desktop to essentially \"clone\" the entire FCP Cafe website to your local machine.","You can then make changes locally, and once done, submit a pull request back to the main GitHub repository.","You can download GitHub Desktop here.","You can then use a text editor like BBEdit to edit your Markdown files on your Mac."]},{"l":"Powered by Retype","p":["FCP Cafe is powered by Retype and hosted on GitHub Pages.","We've VERY thankful for all the support Retype has given us!","The comments feature at the bottom of every page is powered by giscus."]},{"l":"Contributor Covenant Code of Conduct"},{"l":"Our Pledge","p":["We as members, contributors, and leaders pledge to make participation in our community a harassment-free experience for everyone, regardless of age, body size, visible or invisible disability, ethnicity, sex characteristics, gender identity and expression, level of experience, education, socio-economic status, nationality, personal appearance, race, caste, color, religion, or sexual identity and orientation.","We pledge to act and interact in ways that contribute to an open, welcoming, diverse, inclusive, and healthy community."]},{"l":"Our Standards","p":["Examples of behavior that contributes to a positive environment for our community include:","Demonstrating empathy and kindness toward other people","Being respectful of differing opinions, viewpoints, and experiences","Giving and gracefully accepting constructive feedback","Accepting responsibility and apologizing to those affected by our mistakes, and learning from the experience","Focusing on what is best not just for us as individuals, but for the overall community","Examples of unacceptable behavior include:","The use of sexualized language or imagery, and sexual attention or advances of any kind","Trolling, insulting or derogatory comments, and personal or political attacks","Public or private harassment","Publishing others' private information, such as a physical or email address, without their explicit permission","Other conduct which could reasonably be considered inappropriate in a professional setting"]},{"l":"Enforcement Responsibilities","p":["Community leaders are responsible for clarifying and enforcing our standards of acceptable behavior and will take appropriate and fair corrective action in response to any behavior that they deem inappropriate, threatening, offensive, or harmful.","Community leaders have the right and responsibility to remove, edit, or reject comments, commits, code, wiki edits, issues, and other contributions that are not aligned to this Code of Conduct, and will communicate reasons for moderation decisions when appropriate."]},{"l":"Scope","p":["This Code of Conduct applies within all community spaces, and also applies when an individual is officially representing the community in public spaces. Examples of representing our community include using an official e-mail address, posting via an official social media account, or acting as an appointed representative at an online or offline event."]},{"l":"Enforcement","p":["Instances of abusive, harassing, or otherwise unacceptable behavior may be reported to the community leaders responsible for enforcement at[INSERT CONTACT METHOD]. All complaints will be reviewed and investigated promptly and fairly.","All community leaders are obligated to respect the privacy and security of the reporter of any incident."]},{"l":"Enforcement Guidelines","p":["Community leaders will follow these Community Impact Guidelines in determining the consequences for any action they deem in violation of this Code of Conduct:"]},{"l":"1. Correction","p":["Community Impact: Use of inappropriate language or other behavior deemed unprofessional or unwelcome in the community.","Consequence: A private, written warning from community leaders, providing clarity around the nature of the violation and an explanation of why the behavior was inappropriate. A public apology may be requested."]},{"l":"2. Warning","p":["Community Impact: A violation through a single incident or series of actions.","Consequence: A warning with consequences for continued behavior. No interaction with the people involved, including unsolicited interaction with those enforcing the Code of Conduct, for a specified period of time. This includes avoiding interactions in community spaces as well as external channels like social media. Violating these terms may lead to a temporary or permanent ban."]},{"l":"3. Temporary Ban","p":["Community Impact: A serious violation of community standards, including sustained inappropriate behavior.","Consequence: A temporary ban from any sort of interaction or public communication with the community for a specified period of time. No public or private interaction with the people involved, including unsolicited interaction with those enforcing the Code of Conduct, is allowed during this period. Violating these terms may lead to a permanent ban."]},{"l":"4. Permanent Ban","p":["Community Impact: Demonstrating a pattern of violation of community standards, including sustained inappropriate behavior, harassment of an individual, or aggression toward or disparagement of classes of individuals.","Consequence: A permanent ban from any sort of public interaction within the community."]},{"l":"Attribution","p":["This Code of Conduct is adapted from the Contributor Covenant, version 2.1, available at https://www.contributor-covenant.org/version/2/1/code_of_conduct.html.","Community Impact Guidelines were inspired by Mozilla's code of conduct enforcement ladder.","For answers to common questions about this code of conduct, see the FAQ at https://www.contributor-covenant.org/faq. Translations are available at https://www.contributor-covenant.org/translations."]},{"l":"Discuss this page"}]]
\ No newline at end of file
diff --git a/rss.xml b/rss.xml
index 4f026256cc..e04a9830a2 100644
--- a/rss.xml
+++ b/rss.xml
@@ -4,9 +4,9 @@
         <description><![CDATA[Latest News from FCP Cafe]]></description>
         <link>https://fcp.cafe</link>
         <generator>FCP Cafe</generator>
-        <lastBuildDate>Thu, 17 Aug 2023 04:28:33 GMT</lastBuildDate>
+        <lastBuildDate>Thu, 17 Aug 2023 06:53:05 GMT</lastBuildDate>
         <atom:link href="https://fcp.cafe/rss.xml" rel="self" type="application/rss+xml"/>
-        <pubDate>Thu, 17 Aug 2023 04:28:33 GMT</pubDate>
+        <pubDate>Thu, 17 Aug 2023 06:53:05 GMT</pubDate>
         <item>
             <title><![CDATA[23rd May 2023]]></title>
             <description><![CDATA[<p>Iain Anderson has written a very detailed <a href="https://www.provideocoalition.com/final-cut-pro-10-6-6-for-mac/">Final Cut Pro 10.6.6 blog post</a> over at Pro Video Coalition.</p>
diff --git a/rss/index.html b/rss/index.html
index 46d9b3bdf5..f5e45ec12b 100644
--- a/rss/index.html
+++ b/rss/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../static/favicon.ico" rel="icon">
-    <link href="../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/sitemap.xml.gz b/sitemap.xml.gz
index d816f0f9703a5a25599e41332ac074b0a7102337..adcf9091b2e4c05ee177a6ea0f9ec66aba8bf8c6 100644
GIT binary patch
literal 860
zcmV-i1Ec&OiwFP!000001I(FCbJ{QvhVS_m40mC$$p;J}xBi0k(%V{=u_lt%m1GS6
zzH6X_%yim}x*0h6OBy|_R;%|FtCyWMqpk8mqkA6DCe!gqIf<2ao9FTO*Kgu!{Ib4V
zb>0LON7UGb=W!EbyUen_?<YY=WuXld^qVZmh8{w8dYMfpi}A6~a@Ry_KJ@I1L!a4V
zvB(Zz$LqV%Xc%d@(w#xM9@+=$P|J2Ap;p-{8(yCpK!_Hrbw14tF?|xV$Jabx-cOfB
z{)5_`z8>4QUZdA>zowtK%Fa*2h}mh#e+@0sMX$>)GEht>kBJmzw}~F)oAMkK4-cuq
z=%PR;=$Qp$o`_)}Do5ESqLPh6gPT1IPm##e>(Ce-;wK^IUjjilLV5*JZ<Pq0wfeI>
ze-BEY$^$>II=)v%K~N5(3ReYjsxLJY!z_^jTjh+3k*R*9VnmN!X;f$sBkeUD>*aot
zTFbyH528kIA+pR)GKy}YVgYzc1OO>j2)fjUdR~=8NeufyLL!TZhG$w*D=JmfO7o<~
zJe7euZ9%fk$vm}yQ62RzD;}mC6h&%g94UJAZ?(bx22e<lY4`am_IH$2VR%FVAGI_*
zdrXlk4v#3R>Lh6pbYO0PrXf{^o@MzYlSon_BE+s5L;#s3lyA4g6Fct&)*?2frgg<)
za+t`7sP2eQ4Sb5+>OMAH%k7?vFf>pxRU;NA?J5mHgcc;lt=fm6c(Om0?tMf5UAond
z+}m*Sz*DYR!d4o@N`R}x1`UfAD^ktvd%#-LZ8TGqQfVq$c!u1A7avpKgA3B@lE+XK
z$r9}nYDg?k`_4yH4!l(5^gfpshdq(*+TrlxR;Yl=L$u&vqpWf)=LJQoH<V~?=LY}L
zVns8^BfRrudw9kPC^Z;MUI4C2)PS#g@TVh5GDn@Ssmk+&DOC!ep)69c(BBBnp!z7O
zSzuD7`Eki-Tksl6CUKq&bFSkdgSIvLsL{*LRpz=;x&W(p!;W_=G^KK~vEW(6dY&qY
zFT=xgpqi%&rb`sr?ktPH<DfCR^x*f5$;<$CIKCo5S$nW*kiI<YpMgwsP2GQM%8<3g
mKRHZ0Jp<0ySd{$F>h^FU{k6XP1pom5{{sNV0QDJ=9RL91Ae`?2

literal 861
zcmV-j1ETyNiwFP!000001I(Gva@sHu#_xFwhPyCeAb}y|)+b0Wy{%;#Ya(e~NyhN@
zT>~X#rqgEB&A`e3q|uMnYW00${j#@auv0#0bkD=dXgnM!C$ZFS`#k*q`b|6yUp5cx
z)|;T>fEv5-Jgj4ER$10{-6-g&EHq(+ewzhZ(?iJ4FSGGzIXv}Q?dxdGhn`)2>@!&|
zm)Y^_aPu%2^dt3Gx-%#@efvNiD%p%AR4Q9%{p)iB2+?A>nU1Hq7(a>0<Lh{_n$K6W
z@egWu{(5TLc#U4i!-jt1I=ejeBWC9z|24Ek7ridp$Ure3Jtk5V?KXOlZ_0B}EEcK3
zXrn+U=$Qp$mWW{>Do5ESqLQ^kgWCfOPoBur=};RT;wK>{UjjilLV5*J@019wwfeI>
ze-Fwul?Q&_bbPOjf}k8m6>bXRR99#whDjm=Hp&?lBUAlI#fTo;!l+OqM%rsQ*2{dE
zTFbyH528YEA+pR)GKy}XWC3_e1OO>j2)fXQdft>oNeqWTLL!TZhG$w*D=JmfQuCz7
zER}&e?Le~3$t<;iQ62Rz%NJt~iaa$lP81#bx5{952Ph=SwEKJ&`#VaiFg&4vk6Id@
zJtj{ThbI(OwvsdmIxu%YQ<Ew~&$4`yNhGNd5n@~RB7n>i%D4OBiLG}6D-ml_)4F6a
zIZR|kRJFvXdOk&N^$=^W<u>Oc3^kNY)rf^jyHZ0Cp#e#8D-R(kp6pMhd*9H1mu|Hu
z_tu|0@RTc-uoVWe6yQp+MZ==S@>FyC9<au=Tg?=uRGN|&o+0<(#mCh5;DYqJ;4u_=
zvP8Rv>J!V;zVi{4120uMz0ak^eov&kra!#67b>9g5G^>^DytmJc|o4)4JBIJy54^@
zSkesg2=8gKJ-pxqlp2gBF90_ss==2X`16q@nWNTMRONZXlq!WUP!=gz=<kH4SACS!
zEHJ6k{Iuk=9e51|lQ>U?xzzEHLDLw0(&$C&N^{#NU4d2me#g5PnnF2QTktGmeVQtX
zufxN0pgK(zOxGx~*;^KW$3bIs;lUpmlbHePczi{IvhrY6FMWB|KLeTOn!5kilp$;S
ne{z_1dIp@Yu_)6&tJ~v+^w;L$7XSbN|NjF3P@ja^kR1R3j1`(i

diff --git a/troubleshooting/index.html b/troubleshooting/index.html
index cdcd80c97a..23cd13bd84 100644
--- a/troubleshooting/index.html
+++ b/troubleshooting/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../static/favicon.ico" rel="icon">
-    <link href="../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>
diff --git a/wishlist/index.html b/wishlist/index.html
index 2e8a937143..16ec6ea6b3 100644
--- a/wishlist/index.html
+++ b/wishlist/index.html
@@ -3,7 +3,7 @@
 <head>
     <meta charset="UTF-8">
     <meta name="viewport" content="width=device-width,initial-scale=1">
-    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745570549288">
+    <meta name="turbo-cache-control" content="no-cache" data-turbo-track="reload" data-track-token="3.1.0.745627842312">
 
     <!-- See retype.com -->
     <meta name="generator" content="Retype 3.1.0">
@@ -33,11 +33,11 @@
     <script data-cfasync="false">(function () { var el = document.documentElement, m = localStorage.getItem("doc_theme"), wm = window.matchMedia; if (m === "dark" || (!m && wm && wm("(prefers-color-scheme: dark)").matches)) { el.classList.add("dark") } else { el.classList.remove("dark") } })();</script>
 
     <link href="../static/favicon.ico" rel="icon">
-    <link href="../resources/css/retype.css?v=3.1.0.745570549288" rel="stylesheet">
+    <link href="../resources/css/retype.css?v=3.1.0.745627842312" rel="stylesheet">
 
-    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script data-cfasync="false" src="../resources/js/config.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
     <script data-cfasync="false" src="../resources/js/retype.js?v=3.1.0" data-turbo-eval="false" defer></script>
-    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745570549288" data-turbo-eval="false" defer></script>
+    <script id="lunr-js" data-cfasync="false" src="../resources/js/lunr.js?v=3.1.0.745627842312" data-turbo-eval="false" defer></script>
 
     <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css">
     <style>